Articles - Page 10 of 49 - Small Boats Magazine

Coleman’s Portable Camp Oven

I like to eat especially well when I’m cruising, and I enjoy the juxtaposition of roughing it in a small boat with fine dining while at anchor. I’ve done well with frying and sautéing on camp stoves, but I’ve missed baked goods. I have a camper’s Dutch oven that you cover with coals, but was never brave enough to cook with it when I had campfires. I’ve known about Coleman’s Portable Camping Oven for decades but had never seen one in use. It was time to give it a try; I bought one.

Photographs by the author

The three stoves used for testing the oven are, from left to right: a single-burner stove with a 1-lb propane tank; a portable butane gas range; and the Gas One Mini with the propane adapter.

For my first tests with the oven, rather than go the time and effort of finding a recipe, buying ingredients, and mixing up something, I bought a few tubes of prepared dough for cinnamon rolls and biscuits.

For baking trials, I used premade dough and followed the instructions as well as I could. After relying on the oven’s built-in thermometer for the first trial, I used an oven thermometer to get accurate readings. The disposable aluminum pie pan worked well and didn’t leave the rolls scorched on the bottom.

The cinnamon rolls require baking at 350°F for 20 minutes or until golden brown. For heat, I used a Coleman single-burner camp stove, the kind that screws onto the top of a 1-lb propane cylinder. The base for the cylinder kept the oven perched on top steadily enough. I lit the burner and opened the valve to its maximum setting. After 16 minutes, the oven’s temperature dial was at 340°F and there was no sign of it progressing to 350°F, so I put two cinnamon rolls on a foil pie pan and slid them in. The temperature gauge fell about 10 degrees while the rolls were baking.

I took a peek at about 10 minutes and the rolls had risen well and hadn’t been scorched by the high heat. At 12 minutes they were golden brown and ready to eat.

In spite of the quick bake, the rolls were fluffy, and the bottoms were as golden brown as the tops. I weighed the propane cylinder before and after baking and the combined 28 minutes of warming the oven and baking the rolls had consumed just 2.75 oz of fuel. At that rate the 1-lb canister of propane would, in theory, fuel 163 minutes of baking. (Nearly empty canisters don’t put out as vigorous a flame.)

Next, I tried my butane-fueled stove. I didn’t expect it to do as well—it has a smaller burner head and is quieter than the one-burner propane—but it brought the stove all the way up to 350°F in 16 minutes and continued raising the temperature. I put a new batch of cinnamon rolls in, dialed the flame down—a bit too far at first—then up again to hold at 350°F. Within 13 minutes, the rolls were turning golden brown. Cooking with butane consumed 2.3 oz over the 29 minutes. A full canister contains 7.8 oz of butane, enough for 98 minutes of baking.

I used doubled aluminum foil for baking the biscuits and, while it worked well in the oven, its flexibility proved challenging while removing the hot food.

The propane had delivered 10.2 minutes of baking heat per ounce, the butane 12.6 minutes per ounce. In the standard 7.8- to 8-oz canisters, butane costs 33¢ per ounce at current U.S. prices; propane in 16-oz canisters costs 58¢ per ounce. I was pleased that butane had the edge for both performance and economy as my butane stoves are the ones I use most often, and they provide a more stable base for the oven. Coleman made the oven for use on its classic two-burner stove, but it works fine with a single-burner stove that has supports long enough to span the 7″-diameter opening in the bottom of the oven.

The chocolate-chip cookies spread as they baked, limiting how many I could put in the oven at one time. The parchment paper worked well and didn’t scorch while baking, but it was slippery and should have been supported by a cooking pan with a lip. This batch got away from me and smeared hot chocolate down my shirt front on its way to the ground.

Finally, I tested the oven using my GasOne Mini as the heat source. The Mini is a dual-fuel stove and I used the adapter hose to hook it up to a propane canister. This time, I decided to bake some biscuits and to place an oven thermometer in with them to get a better sense of the internal temperature. In 12 minutes, with the burner going full blast, the oven’s gauge was showing a temperature of 300°F, but the oven thermometer was reading 350°F, just right for the biscuits. The instructions called for baking at 350°F, for 16 to 19 minutes or until golden brown. The biscuits were golden brown in 14 minutes and, like the cinnamon rolls, flaky right through and browned but not scorched on the bottoms.

While the biscuits were baking, I used my laser thermometer to check the temperature of the door around the oven’s gauge. The readings averaged around 155°F—evidently the gauge isn’t calibrated to take into account the cooling effect of the door. Also, it seems likely that the gauge’s readings will vary with the temperature of the ambient air—I did all my baking tests on warm summer days. An inexpensive oven thermometer set inside the oven would be the best indicator.

Folded, the oven measures 12-1/4″ top to bottom, 12″ side to side, and 2-1/4″ thick (not including the knob or rack). It weighs 7 lbs 3.3 oz.

I’ve been impressed by how well the Portable Camping Oven performs. When folded up it is smaller than a butane stove, it is easy to set up, and supplies even heat without consuming a lot of fuel. Now I just need to go roughing it with recipes and ingredients for baked goods.

Christopher Cunningham is the editor of Small Boats.

The Portable Camping Oven is made by Coleman and is listed at $37.99. It is available from many retail outlets and online sources for around $50.

Is there a product that might be useful for boatbuilding, cruising, or shore-side camping that you’d like us to review? Please email your suggestions.

Making a Boat a Home, Part 2

A Tent for Alaska

James Danner

James Danner designed and built his own tent so he could more effectively use his Iain Oughtred– designed Caledonia Yawl for adventures in Alaska.

In Southeast Alaska, rocky beaches, insects, and a large resident bear population often make tent-camping on the beach an unappealing option,” James Danner writes from Juneau. “Having a boat tent has really opened up the family’s beach-cruising options. It can be set or struck easily while at anchor and has seen regular summertime use since it was created. My wife, Leni, appreciates the privacy the tent affords while camping on the water, and the kids just think it’s fun, bundled up in a sleeping bag rocking gently at anchor in their collapsible home away from home.”

James Danner

Clever uses of space give Danner’s boat enough room to cruise with his wife and two children.

Danner designed and built the tent for his Iain Oughtred–designed Caledonia Yawl, SPARROW, as a winter project. He based its structure on dome tents he had observed. “Then, the details were worked out over a full-sized mock-up in our basement, using plastic sheeting as pattern material for the various panels. Several Internet searches turned up all of the materials needed to complete the project.”

Danner’s tent is made from heavy-duty coated rip-stop nylon. Five segmented aluminum tent poles fit into pockets sewn into the tent, two of them forming an X across the cockpit from corner to corner. Three shorter poles form hoops to keep the ends open and support the center. The tent attaches to the boat at the gunwales with sewn-in web straps, and its ends are made off to the main and mizzen masts.

“The tent itself is made up of six individual panels that were stitched together with a UV-resistant thread with reinforcing patches added where the tent pole pockets are located,” Danner writes. “The ends of the tent are finished off with zippers to accept solid panels to enclose the cockpit area completely. The plan was to make screened panels that would keep the mosquitoes out while letting a breeze through, but in practice this has been unnecessary, since most summer evening temperatures here range from the mid-40s to low-50s.”

A Different Kind of Alaska

Rod Mort

In fair weather and for maximum ventilation, the tent that Rod Mort developed for his Don Kurylko–designed 18’ Alaska can spring outboard, away from the hull.

For his Don Kurylko–designed Alaska, an 18′ Whitehall type, Rod Mort of British Columbia had a specific idea in mind for a tent. “Don’s Alaska design came about partly as a result of a long cruise he did some years ago in his own Whitehall,” Mort writes. Kurylko lives in Nelson, B.C., which is far inland but within trailering range to gorgeous lakes and also to various sections of the Inside Passage. Beaches in the rocky, narrow passage are relatively scarce, however.

Rod Mort

In cold weather or when it’s time to ward off mosquitoes, the tent can be drawn in for a tight fi t to the gunwales and closed off forward, making a palatial space for the best kind of boat relaxation.

“The tent design is a prototype, but it has worked so well I haven’t had to change anything yet,” Mort writes. “My initial thoughts were to make something without adding any hardware to the boat. I wanted to avoid snaps on the rubrail or some such if I could. To facilitate setting up the boom tent, Don designed an extra maststep through the after deck. One thumb cleat on each mast holds up a ridge-line. The tent is secured to each mast first, then draped over the ridgeline and secured to the sides forward, amidships, and aft. Then the tent poles are added. Three short lengths of line on each side are attached to a loop on a pocket that receives the poles. The pockets and loops are made simply of webbing material. The tent poles needed to be quite thin to take the bend. In practice, I set up the diagonals first, going over the ridgeline and into the pockets on the other side. Two other poles are inserted into the middle pockets and over the ridgeline as well, one forward, one aft.

“Once the poles are in, the sides can be snugged down or left up for increased ventilation. The front and rear sections of the tent can be untied from the masts to open up cockpit space aft or forward. When the tent is secured all around, there is almost complete privacy.

“The fabric itself is coated rip-stop nylon, a very ‘quiet’ material sold here as a guide tarp. We added a couple of panels up front to cover the forward section completely, but we generally leave it open unless it’s quite cold out and the mosquitoes are bad. I have mosquito netting, which I have yet to try. It is suspended from the ridgeline and tucked in around the edges and poles. I’ve discovered that to get any sleep you have to keep mosquitoes as far away as possible.”

Windage is always a consideration in tent design and construction for small craft. “I have a 17-lb fisherman anchor with two fathoms of chain up front and an 11-lb Danforth off the stern,” Mort wrote. “The boat and tent act like a kite with this arrangement. I think about 15 knots of wind would be worrisome. I have an awning for those situations.”

The Randonneur

François Vivier

A veteran of many raids and a prolific small-craft designer from Brittany, François Vivier developed a large-volume tent for his Stir Ven design.

Not every boat design will come with a naval architect–designed tent as part of the specifications, noting panel dimensions and the exact types and locations of tie-downs. François Vivier, however, speaks from experience in the subject, having developed such a tent for his own boat. Because he designed his Stir Ven for competing in “raids”—weeklong sailing and racing events for open sail-and-oars boats—he worked out the details for himself. The result is detailed in drawings included in the plan sheets for the design. Stir Ven, a 22′ sloop (see Small Boats 2007), is one of Vivier’s most successful small boats, several of which would adapt well to raid-sailing or camp-cruising (see www.vivierboats.com). The French call these “randonneurs,” a term adapted for small boats from another kind of adventure, long-distance bicycling.

François Vivier

A zippered panel forward allows access to mooring or anchor lines.

“It takes about 10 minutes to mount the tent,” he writes. “The fi rst step is to put the ensemble boom, sail, and gaff on one side deck. For that purpose, the goose-neck has to be easy to disconnect. This gives much more free space under the tent.” The mainsail’s peak halyard is clipped to the transom and hauled taut, allowing the aft end of the tent to be made off to the halyard at the right height. The other end of the tent is made off to the mast. Vivier specifies five athwartships tent hoops, giving the tent a Conestoga-wagon look and ample interior space, including standing headroom. The hoops consist of sail battens of a type common on catamarans. “The ends are simply inserted into gussets closed by Velcro on one side,” he says. “At the centerline, there is a small rope, sewn to the tent, to attach the batten and keep it in position. For the end battens, there are some additional attachments.”

An unusual aspect of the tent is that those battens are long—about 11′ 6″, or 3.5m—but they stow alongside the cockpit under the side decks, where Vivier’s design already allocated space for stowing the boat’s long oars.

François Vivier

Velcro pockets receive long battens used for the hoops, which stow alongside the cockpit in space originally intended for stowing the boat’s long oars.

“The tent is lashed to the toerail, which is drilled about every foot,” Vivier wrote. “Eyelets on the tent are located in front of these holes. On each side, we use a single line to lash the tent to the toerail. A small cleat, also used for fishing lines, is used to belay the line end.” Because the boat has wide side decks, the cockpit stays dry. His cruising grounds in Brittany are mercifully free of insects, so no netting is needed, though it could easily be added to the tent doors. Vivier used a canvas-style cloth, but figures a lightweight waterproof cloth could be more satisfactory.

François Vivier

Food preparation and moving around are greatly enhanced by the full standing headroom, which any small cruising yacht owner would envy.

A door at the aft end of the tent provides access to the short afterdeck. Forward, a door to one side of the mast permits access to the foredeck for managing the anchor rode or mooring lines. With both doors open, ventilation is assured.

Stir Ven actually has a small cuddy cabin, but the tent extends and enlarges the living area, which can be a positive benefit when socked in by weather, or when four people are aboard. “Two people may sleep in the small cabin and two on the cockpit floorboards,” Vivier writes. “It is possible to stow bags and sails on the side decks, so four people may spend a weeklong raid. Of course, during the day, the cabin is almost full with all the boat and crew equipment.”

A Powerboat Cockpit

Jay Fleming

For hunkering down during inclement weather, a cockpit tent greatly expands the living area of a Snekke from boatbuilder Andrew Wallace of Traditional Boat-works in Canaan, New Hampshire.

by John Harris

In the year 2013, boatmen acquainted with the idea of a camp-cruising powerboat are one in a thousand. Don’t powerboat accommodations comprise decks stacked upon decks, surmounted by a flying bridge? But shipshape camping in open powerboats can be done, and it can be done very well.

Jay Fleming

While the boat is under way, a retractable dodger gives guests shelter from the rain.

Thinking about canvaswork at the design stage helps with clean integration. Start, first, with a boat like Andrew Wallace’s Snekke, a deep, comfortable, 24′ inboard launch of traditional Norwegian origin (see page 44). Then add a handsomely proportioned cuddy, also idiomatic to the type. The neat windshield and high coamings around the cockpit create a solid foundation to which artful canvas-work can be anchored.

A single bent stainless-steel hoop is mounted at the rear of the cuddy opening. Folded away, it’s completely unobtrusive, even with the canvas attached. Flip the hoop back 90 degrees, and you have a dodger that roughly doubles the covered area of the cockpit. This dodger works beautifully under way to protect the helm without obstructing forward vision, and four adults may lounge in the cuddy out of the rain and wind.

Jay Fleming

The cockpit tent itself at-taches to the aft edge of the dodger and fi ts to the coam-ing for a quick setup.

The Snekke has sleeping accommodations for three or more adults on settees or the floorboards. To enclose the cockpit completely, another hoop folds up from its near-invisible housing against the aft bulkhead, supporting a swath of canvas over the helm station. Now you have a completely enclosed cabin with standing headroom aft. Elapsed time: just minutes.

Jay Fleming

The tent provides ample sitting headroom in the cockpit, and its zippers and snaps allow easy access. When the weather clears, the tent removes and stows easily.

Ventilation is essential for crew comfort. If the skies open up, there are small integral vents that will provide at least some cross-flow. (If the tent is being used as a cover for storage, this ventilation can also help guard against mildew.) A crew camping in a temperate climate would open a flap right aft and a forward window in the cuddy for a brisk flow of air at anchor. Screens zip into the openings to keep out stinging and buzzing things.

If it’s colder, Wallace points to a peculiar virtue of the inboard-powered Snekke: the 800-lb iron Sabb diesel, mounted right in the middle of the cockpit, radiates heat long after it’s been shut down. Free heat for winter camping!

The Snekke is a proper little yacht, and canvaswork in this class is not cheap if hired, or easy if you do it yourself. The bending of the hoops is best left to a professional shop accustomed to that sort of work. The intricate fabric shapes require careful patterning and siting of zippers and snaps. The result, rendered in the best UV-resistant yacht canvas, is as elegant as it is functional.

A Peapod for a Schooner

In the summer of 2017, the Maine Maritime Museum (MMM) in Bath, Maine, began a year-long restoration of the recently acquired MARY E, a 70′ two-masted schooner built in Bath in 1906 and the last surviving example of her type. As the museum began the renovation, Kurt Spiridakis, MMM’s director of boatbuilding, put a proposal to the board of trustees: the MARY E would need a tender. He suggested they build a replica of a peapod built around 1886 in Maine’s Washington County. Although the MARY E would more likely have had a dory as a tender, the Washington County peapod was representative of the era in which the schooner had been built. Furthermore, it had good load-carrying volume, could accommodate multiple passengers, and, with three rowing stations and two possible rigs, could be configured in several ways. Kurt was given the green light to build the boat in the museum’s Boatshop.

The Boatshop was initially established to restore private boats and reproduce originals in the museum’s boat collection, but over time it has expanded its mission to offer courses in boatbuilding—most particularly to middle-school students—and a range of associated traditional crafts. On occasion, the staff build or restore boats on commission.

The plans for the peapod had been redrawn for the museum in 1979 by David W. Dillion from the lines and offsets taken off an existing boat in 1937 by Howard I. Chapelle and presented in his classic book, American Small Sailing Craft. Toward the end of the summer in 2017, Kurt lofted the boat and then shifted his focus from hands-on to logistics.

Photographs courtesy of Maine Maritime Museum

The peapod has 10 strakes. The learning curve was steep but, says Kurt, by the time the fourth plank was laid, the crew was well-practiced in the process and the build established a rhythm.

“The boat,” he explains, “was built mainly by volunteers. The museum has a team of about 35 volunteers who come and go in the Boatshop. Some of them are here only for the summer. Some are never here in the summer. Some will work on one aspect of boatbuilding once a year, like spiling. A normal boatbuilding project develops a flow, a rhythm. But when your workforce is intermittent, that doesn’t happen so much. It’s definitely not the most efficient way to build a boat.” But, where the project lacked efficiency, it had dedication and heart. “They are all really devoted, interested people,” says Kurt. “So, it’s just a matter of communicating; communication is everything.”

With the hull planked up and ready to be turned upright, fitting out and finishing would follow.

Working in a teaching environment is not new for Kurt. After training at the Carpenter’s Boatshop in Pemaquid, Maine, in the early 2000s, he went to the Alexandria Seaport Foundation in Alexandria, Virginia, to be a boatbuilding instructor, and from there traveled on to Greece to spend a year apprenticing for a traditional boatbuilder. He has been at MMM since 2008 when he returned from Europe to take up the position of the museum’s director of boatbuilding. He is familiar with making relatively complicated projects practical for teams with varied skill levels. Now, he set about breaking down the project into manageable tasks. “I instructed people on taking patterns,” Kurt says. “Then it was building molds and making the backbone. We always had a work plan, but volunteers typically came in only on specific days, so it was hard to get everyone together. I did find myself repeating things a lot.”

Most peapods are very nearly symmetrical end for end both in plan and in profile. The Washington County peapod is asymmetric—fuller in the bow than in the stern—and has a straight sternpost to better accommodate a rudder.

From start to finish, the project would take almost five years, but despite that, there was a core group of four or five volunteers who were involved throughout. One was Ken Moller, who serves on the museum’s board of trustees. He has fixed boats, built a couple of skiffs, taken some classes at WoodenBoat School, and has been volunteering in the Boatshop for the past 10 years. He comes in regularly because, he says, “I enjoy the socializing, and the coffee hours, but above all, learning from Kurt.”

The peapod was built of locally sourced Maine wood. The museum has its own sawmill, a 1994 Wood-Mizer LT-40 bandsaw. “It’s not huge,” says Kurt, “but it’s big enough to do pretty much everything we need. We generally get donated logs from within 30 miles of Bath, which we bring back to the mill, saw into lumber, and leave to dry. We use a lot of northern white cedar, white oak, and black locust. The local arborists let us know if they have something suitable for us. We’ll drive a couple of hours to pick up the right log. If we didn’t do it, the wood would be turned into firewood.”

After the hull was returned to upside down, it was prepped for painting the exterior. Like other early peapods, the Washington County type has no centerboard.  The pronounced keel  provides some lateral resistance for sailing, but peapods were sailed on reaches and runs and rowed to windward.

Not only does the practice of harvesting and sawing on site keep things local and allow the museum to make the most of local resources, but also it gives those who volunteer at the Boatshop the chance to follow a “pretty complete path from tree to boat,” says Kurt. “It’s definitely a little more work but it gets people invested in the whole process.”

The peapod’s framing is white oak and black locust, the knees and breasthooks are white oak, the planking and floorboards cedar, and the thwarts pine. The keel is white oak. “We cut it out of a log and the next day we started shaping it; it was really green” says Kurt. “That’s not unheard of, but usually a build of this size doesn’t take five years. As the wood slowly dried in place, the keel changed shape, so we were repeatedly having to reshape it. We had oversized it, to allow for the changes.”

Sitting on her trailer outside the museum’s Boatshop, the BILL D is ready to row. Although one of the two maststeps has been set in place just aft of the stem, the mast holes in the two forward thwarts have not yet been cut. The rudder will be hung from the sternpost with the bottom of its blade flush with the bottom of the keel.

Built upside down, the hull was to be planked lapstrake with 10 planks to each side. The earliest peapods, built in the late 19th century, were planked either carvel or lapstrake, and after the turn of the century lapstrake was less common. But the original peapod had been built lapstrake, and, says Kurt, that suited his crew: “It’s a forgiving type of construction and it looks really pretty.”

As the BILL D goes down the ramp for the first time, Luke Small, boatwright at Maine Maritime Museum, rides with the boat to check on any leaking as she enters the water. At the stern, Kurt Spiridakis guides the boat, while Ken Moller follows at the bow.

The molds and backbone were set up toward the end of 2017 and construction progressed slowly through the following 12 months. “It was an interesting project,” says Kurt, “but it wasn’t a Boatshop priority. It wasn’t a commissioned build and, unlike the middle-school boats, there was no deadline for its completion. We worked on it when we could, but there was no concerted effort.”

At rest alongside the museum dock, the BILL D has her rudder left in place with the tiller lashed amidships to prevent it from swinging. In the distance, the building with the red walls is the museum’s Blacksmith Shop, the white building behind it is the Paint & Treenail Shop, and to the right is the Mill & Joinery Shop.

When COVID-19 hit, the project all but ground to a halt. Most of the volunteers chose not to come into the museum at the height of the pandemic and some stayed away for two years. For a while, Kurt worked alone again, but the core group was eventually back on site and the project moved slowly on.

With planking completed, the boat was turned over and fitting out began. A fundraising campaign was initiated by the museum and, as the peapod neared completion, more and more helpers came in to lend a hand. “In the spring and early summer of 2022, all kinds of things happened,” says Kurt. “We made the spars for the sprit rig, we fashioned oars, the rudder and tiller,” and the boat was painted and varnished.

When the museum held another fundraiser, among the items up for sale to raise funds was the right to name the peapod. Ken’s wife made the winning bid. “We thought it appropriate to honor William Donnell”—the man who had rescued MARY E from certain demise in the 1960s. “After all, without him we wouldn’t have the MARY E, and with no MARY E there’d be no peapod. So, we decided on BILL D.”

The BILL D has three rowing stations and will have two maststeps, offering many configurations for rowing and sailing.

The BILL D was launched into the Kennebec River on August 2, 2022. She is docked at the Maine Maritime Museum alongside the MARY E, two working boats built a century apart, both honoring a bygone era, and both crafted by locals using local materials.

Do you have a boat with an interesting story? Please email us. We’d like to hear about it and share it with other Small Boats Magazine readers.

Making a Boat a Home, Part 1

James Danner

A well-thought-out tent can create a capacious living space, transforming any small boat into an expedition cruising craft.

Boatbuilding never ends with launching day. Refinements and alterations are a constant source of clever ideas well suited to individual needs, never more so than when a small boat is intended for big voyages. In inclement weather, those with open boats may yearn for the enclosed cabins of sailing yachts or small power cruisers—but on the other hand, the accommodations on most small cruising boats can be confining, even claustrophobic since they are often not much larger than the average backyard doghouse. With an increasing interest in using small boats for adventure voyaging and multi-day sails in company, individual innovators have been discovering the practical uses of custom-built tents, which can provide roomy quarters of a size most small cruising boats would envy. The air is fresh, the view is unparalleled, and with advances in tent poles and supplies, the results can be a joy to a cruising sailor.

In small-boat cruising—particularly under sail—having an absolute destination and schedule can be hazardous. At times, getting into a sheltered cove can be a necessity, but you can’t always count on finding a legal or comfortable place to camp ashore. Being able to stay aboard the boat gives the small-craft sailor the same kind of cruising freedom a yachtsman has. Anchor in the cove, cook your meal, enjoy the twilight, stay dry, settle in with a good book, and be ready for wherever the next day’s adventure might bring.

The elements of what makes a good tent may be as individual as the person setting out and the craft in question. Finland (like Sweden) has the cultural ethic of “every man’s right,” meaning you can camp ashore anywhere so long as you respect the owner’s privacy. But one Finnish camper found that level ground was tough to find. His solution, recounted on page 10, was an adventure setup in which he wheels the boat ashore and uses it as its own tent platform for comfortable nights. In Alaska, as another tent-boater explains on page 15, tenting on board away from shore may be a safety advantage—and that may seem counterintuitive until you are informed that an anchored boat is safely out of range of bears. In Maine, enjoying that last bit of twilight from the cockpit may mean having very effective bug screening.

What do small-boat tents have in common? Good design, practical setup, protection from rain, comfortable sleeping, room enough to avoid claustrophobia, and the freedom of a self-contained lifestyle. One of the best ways in the world to develop a good tent is to look around at what other people have been doing, borrowing ideas that work. For some boats, it might even be possible to simply cut the floor out of an existing land tent and adapt it to the boat—however, sources for tent poles and cloth abound, so the do-it-yourself route can assure a custom fit.

The Finnish Touch

Anthony Shaw

Instead of seeking level ground, adventuring oarsman Jouko Koskinen worked with designer Ruud Van Veelen to devise a way to level his boat, using side braces and blocking.

by Anthony Shaw

Anthony Shaw

Bicycle wheels fit to the boat hull make the light boat easy to haul out or portage.

Jouko Koskinen is a Finnish architect who had a dream of building a boat that suited both his camping and his boating interests, easy to land from the water and capable of carrying a two- to three-person tent. The design did take nearly 50 years to come to fruition, but it has all the benefits of a well-chewed briar pipestem.

Anthony Shaw

With the boat leveled, the off-the-shelf tent sets up quickly.

It was Koskinen’s encounter with Dutch boatbuilder Ruud Van Veelen that crystallized the dream. A scale model was already built and Koskinen had bought a suitable tent when the two met. Van Veelen, the designer and builder of a number of single and double, three- and four-chined rowing skiffs, had little challenge in adapting these to accommodate a two-person tent. The principal difference is the provision of a decked area 2.5m × 1.5m [8′ 3″ ×5′] amidships for the tent.

Anthony Shaw

For this boat, the tent is meant to be set up while the boat is out of the water, with straps running around the girth of the hull.

The chosen tent, the Halti XPD2, is a three-hoop, two-person, 4 kg [9 lb] expedition tent made of rip-stop polyester, supplied with a cotton inner tent and a waterproof floor. It is well ventilated and has also proved its durability in all-season expeditions. Attachment to the boat is secured with three straps that pass under the boat, locking the tent in place just under the three structural poles. The aluminum poles themselves clip into the eyes of the former internal cross-straps supplied with the tent, which now hang over the sides of the boat, ensuring drainage overboard. The guys attach as usual from the tops of the hoops, but only those stretching to the bow. At the stern, longitudinal stability depends exclusively on Koskinen’s own modification to the rain fly, and in particular on his sewing skill.

Anthony Shaw

The boat’s interior fitout was arranged so that the tent’s large sleeping area would be supported by the central platform, which has storage underneath. The tent door opens to the sitting area.

To provide coverage for the whole boat, the rain fly had to be extended at both ends in order reach the boat’s ends. The material was taken from the rain fly of another Halti tent and was sewn with cotton thread. These extensions are secured outside the gunwale by a shock cord passing through gussets sewn along their edges. In addition to the end fittings, the rain fly is secured by small clips amidships, which also prevent the hoops from slipping too low outside the gunwale.

Anthony Shaw

With a table mounted in oarlock sockets, the Sinne has a comfortable cockpit from which her crew can enjoy nature and a taste of the good life while protected from the elements.

After beaching the boat via the detachable 36″ wheels, pitching the tent is straightforward. Stabilized at bow, stern, and sides, the boat provides a thoroughly flat and level sleeping area. It would be tricky to set up the tent while the boat is on the water, but Koskinen argues that doing so would defeat the purpose of the boat’s design. The supreme advantage of the Halti XPD2 is access from both sides to the food preparation and storage area, which on the Sinne covers just the area of the rear cockpit. The boat has four open storage lockers at the side, the main watertight compartment under the deck, and a smaller one under the stern. Six small hatches allow access through the central deck. With one’s partner on the facing cockpit seat, some cushioning on the plywood seats, and the meal spread on the table, which fits into oarlock pins, dining is comfortable and compact, and for any backwoods traveler it is as cozy as it ever gets.

A Dory Tent

Paul McKinney

A fitted tent of Sunbrella fabric, with zippered access panels forward and aft and clear windows at each side, gives a Lowell’s Surf Dory a vast interior volume and good ventilation.

Paul McKinney of Montville, Maine, used a blend of do-it-yourself and professional help to design a tent for his dory. “I often row and cruise an 18′ Surf Dory built by Lowell’s Boat Shop in Amesbury, Massachusetts,” he writes. “Though the dory has no sailing rig or centerboard, she does have a very spacious interior with removable thwarts and a flat bottom, which are ideal features for an effective rowing and cruising boat.

Paul McKinney

With thwarts removed, the interior is large and remarkably clear of obstruction.

“I worked collaboratively with Art’s Canvas of Belfast, Maine, to design a tent structure that would be sturdy in high winds, dry, well ventilated, bug-proof, quickly set, and with a well-lighted interior. The tent, which is fabricated of Sunbrella fabric, is supported by five sprung arches cut from 3⁄4″ CPVC plastic pipe. Before erecting the tent, each arch is slid through a 24″ sleeve stitched to the top interior of the tent.

Paul McKinney

With the sides rolled up, the view is unobstructed, and by removing one hoop the boat can even be rowed with the tent blocking the hot sun.

“The method of attaching the bases of the arches to the gunwales is simple and uses readily available parts. There are three rowing stations on this dory, with each oarlock socket being the standard 1⁄2″. Into each socket, I place a 1⁄2″ hitch pin of the type used to secure a trailer hitch in its receiver. The protruding portion of the hitch pin angles at about 45 degrees, turning toward the center of the boat. A short section of plastic hose is pressed over each hitch pin, increasing the diameter to about 5⁄8″. The inside diameter of the arches closely matches the modified hitch pins, resulting in a secure and sturdy attachment when sprung into place.

Paul McKinney

The dory tent’s hoop structure uses CPVC pipe supported by fittings set in the oarlocks at the three rowing stations.

“The fore and aft ends of the tent are designed to cover the stem head and transom, respectively, causing the support poles to stand erect with no movement fore and aft. A bungee cord sewn into the lower edges of the tent clips to a series of hooks discreetly fastened just below the sheerstrake lap.

Paul McKinney

For the two intermediate hoops, support fittings slip into the open gunwale.

“Both ends of the tent are designed with semi-circular zippered openings for ventilation, access to the anchor gear, and the creation of a spacious cockpit area in the sternsheets. Additionally, each end has fully zippered insect netting. On each side, amidships, is a generous window with a zippered privacy curtain on the interior.

“If desired, the tent sides can be folded up over each other, creating a very effective sun canopy for rowing on hot, windless days. The arch at the desired rowing station is simply removed from its pin and the hitch pin replaced with oarlocks.

“I have trailered this dory with the tent erected for many hours at speeds in excess of 50 mph without incident. When anchored on a rainy night and a sudden squall blows through, it’s comforting to know that my dory and its contents will remain snug and dry.”

The Paine 14

Art Paine

Designer Chuck Paine enjoys a sail in his newly launched Paine 14. The boat is based on the venerable Herreshoff 12½, but is 45 percent smaller. The unstayed carbon-fiber rig weighs but 20 lbs, and the boat is easily trailered behind a mid-sized car.

The venerable Herreshoff 12½, which will turn 100 years old in 2014, is widely regarded as one of the—no, the—finest daysailer ever designed. Such a statement seems hyperbolic until one considers that the 12½’-waterline sloop has been in continuous production since the first one rolled out of the Herreshoff factory in 1914, and over those 100 years an average of 30 boats per year have been built. Herreshoff built 364 of them before the business closed and production moved to the Quincy Adams yard. Quincy Adams built 51 of the boats before Cape Cod Shipbuilding picked up the mantle, building 35 wooden hulls before switching to a long run of fiberglass ones. Doughdish, Inc. also builds a fiberglass 12½—an exact copy of the Herreshoff original—and Artisan Boatworks has built a few new wooden ones, and is willing and able to do more.

From the success of this legendary design came derivatives. In the early 1980s, Joel White conceived a shallower-draft centerboard version. He widened the hull slightly to offset the loss of stability caused by the shallower draft, but his Haven 12½ in the water is nearly identical to the original Herreshoff model. Designer-builder John Brooks has recently launched a glued-lapstrake plywood interpretation of the design, and Phil Bolger, at the time of his death in 2009, had just sailed and praised highly a sheet-plywood interpretation that he’d devised. And now Chuck Paine, who retired from active designing a few years ago, has just unveiled a scaled-down version of the boat—a beautiful 60-percent miniature of the classic Herreshoff 12½ with some decidedly contemporary updates, including an unstayed carbon-fiber rig and foil-shaped fin keel and rudder.

With all of the other H12½ derivatives on the market—and the new originals—I couldn’t help but wonder why the world needed another one. And so I asked Paine that question the day I met him for a sail aboard the new boat.

“I don’t know if it does,” he politely demurred. “I was retired and wanted a project.”

Paine and I had met near his home in Tenants Harbor, Maine, on a blustery August afternoon. Over the course of our outing in AMELIA, as the new boat is called, the answer to my question—the rationale for the new boat—unfurled slowly but decidedly.

“I didn’t want a boat the size of a 12½,” said Paine. He has ambitions to take the boat to Florida in the winter one of these years, and realizes that the original 12½ is just too much boat to tow those 1,500 miles behind his Subaru Outback. “This boat,” he said of the prototype Paine 14, “is so easy to put in the water.” How easy? Paine walked me through the launch procedure, which involved backing his custom Triad trailer down the ramp until the tailpipe of his Outback is just touching the water. Float the boat off, pop in the unstayed rig, strap the mainsail to the mast (more on that verb in a moment), raise it and the jib, and sail away. It takes two minutes, literally, as compared with the two hours Paine reckons it takes to launch and rig a Herreshoff 12½. And he should know, because he’s owned and loved an original 12½ for the past 40 years, and keeps it in pristine condition on a mooring adjacent to AMELIA’s.

Paine also did not want to tread on the business niche developed by Doughdish, Cape Cod Shipbuilding, and other H12½ shops over the past several decades. “They are making the world a much better place,” he said. “Plus, I didn’t want to mess with the world’s most perfect design.”

Art Paine

AMELIA, the prototype Paine 14, sails in company with Paine’s Herreshoff 12½. In light air, AMELIA has a decisive speed advantage over her big sister.

Nautical linguists will note that, two paragraphs above, I wrote the rather lubberly phrase “strap the mainsail to the mast.” But I meant it, for Paine has come up with an elegantly simple method of affixing the luff of this sail to its carbon-fiber spar. It involves a series of five 2″-wide Velcro straps sewn onto the sail; they wrap around the mast, functioning as a sort of soft mast hoop. They don’t look traditional, but who cares? They’re almost invisible to the eye, and create a very secure attachment—with one slight drawback: There can be no strap above the jib halyard block on this fractional rig, as a strap so-placed would hinder the sail’s passage aloft. And so this portion of the sail is unattached, requiring considerable halyard tension in the 20-mph gusts we experienced that day. But, the halyard should be tight in these conditions anyhow, and so this loose portion of the luff offers a sort of halyard-tension gauge.

The club-footed jib is set flying, which means that it’s not attached to a forestay, because there is no forestay. It’s self-tending, making tacking extremely easy, as we’ll see shortly. The rig, with halyards, weighs about 20 lbs, and it fits into a socket made from fiberglass exhaust tubing that runs from the deck to the keel.

Paine handed me the helm as he dropped the mooring, and as we bore away and sheeted in, the boat accelerated noticeably more quickly than would a Herreshoff 12½. Paine noted that AMELIA, in light air, literally sails circles around his 12½ —which one would expect given the new boat’s underbody configuration. Paine was quick to point out that Nathanael Herreshoff designed the H12½ for the blustery and choppy conditions of Buzzards Bay—and that the older boat, once referred to as the “Buzzards Bay Boys Boat,” was meant as a trainer, and was thus conservatively rigged. The Paine 14 is not so conservatively rigged; although its hull is 45 percent smaller than the 12½’s, the sail plan, at 95 sq ft, is only 35 percent smaller. The racier, lighter, more trailerable Paine 14, says the designer, is meant for a different niche than the 12½. “I could sail this boat in the morning at Brooklin,” he said, casting his gaze downeast, “and then load it on the trailer and
sail it at Acadia National Park in the afternoon.”

Art Paine

Plywood bulkheads define the boat’s flotation chambers. The after chamber doubles as a stowage compartment, and has a watertight hatch.

After I tacked down the harbor, Paine took the helm in order to demonstrate a few of his observations about the new design. First, he called attention to the boat’s impressive short-tacking ability, the result of both the self-tending jib and, more important, the boat’s ability to accelerate out of a tack. There is simply no noticeable loss of speed as the boat comes through the eye of the wind and fills away on the other tack. AMELIA could, I believe, tack her way up a 20′-wide channel.

She also carries significant way. In the breeze we were sailing in that day, I would have expected AMELIA to stop pretty quickly when punched directly into the wind. But she does not—especially with 400 lbs of yacht designer and magazine editor as payload. Paine demonstrated this as we approached a moored boat that we could not quite point above. About 15′ away from it, he gently luffed AMELIA—more than a pinch but less than directly into the wind—and she continued, with virtually no pressure on the sails, to clear the mooring ball. Paine then bore away and continued on.

After this, we doused the jib to get a look at how she performs under mainsail alone. As expected, AMELIA did not point as high, but she still made clear and deliberate progress to windward. Under a reefed main and jib in 18–20 knots, she seemed to lose no speed but there was no need to dump the main in gusts, as there had been under full sail, when we kept a nearly constant bubble in the main’s luff—a so-called fisherman’s reef, Paine told me. With the mainsail reefed, gusts of breeze had no apparent effect on the helm, while with a full main it clearly loaded up, and required constant tending of the sheet. In fact, Paine rightfully chided me at one point for taking advantage of the handy mainsheet cam cleat on the deck of the after flotation tank.

As we made our way back to the mooring, we saw a fleet of 420s zipping around the buoys, with young athletic crews hanging from trapeze. “No hiking on this boat,” said Paine, whose sailing résumé includes an Olympic tilt in the Finn dinghy. “It’s an old man’s boat,” he said of the “14.” “But I’m an old man.”

Art Paine

Paine calls the Paine 14’s wood construction a “hybrid” method, because there are sawn plywood frames in the ends of the boat, while the mid-body is molded around a temporary jig. A production fiberglass version is under discussion.

The wooden Paine 14 is built of three layers of 1⁄8″ Spanish cedar or western red cedar. The planking is applied to forms spaced 7½” on center in the boat’s cockpit area, while permanent frames define the shapes of the bow and stern. “The frames don’t need to be there,” said Paine. “The boat complies with ABS standards without them.” He calls his approach to this boat’s molding “hybrid construction,” and he did it simply to ease the building process. The frames, which are about 2″ deep and made from a stack of marine plywood, are hidden in the flotation chambers—the after one of which has a watertight hatch, allowing it to double as a stowage compartment.

Paine built this prototype himself, out of wood, after an earlier version was built in New Zealand. He reckons, however, that the real market will be in fiberglass, as he estimates that a professionally built wooden one will cost about $70,000, while a fiberglass version will come in around $38,500. Plans are available to home builders.

Paine planked the prototype the old-fashioned way, which is to say that it was temporarily stapled, rather than vacuum-bagged. He then faired and fiberglassed the hull. The exterior received one layer of 10-oz boat cloth, while the visible cockpit area received a 6-oz layer, “for longevity,” said Paine. “I want this thing to be around 100 years from now.” If the Paine 14’s predecessor is any indication, that’s not too tall a wish.


For more information, contact Chuck Paine Yacht Design, www.chuckpaine.com.

The Paine 14’s sail plan is proportionally larger than the Herreshoff 12½’s, and the underbody is decidedly up-to-date with its foil-shaped keel and rudder.

Paine 14 Particulars:
LOA 14’0″
LWL 11’2″
Beam 5’3″
Draft 2’3″
Displacement 850 lbs
Ballast (lead) 385 lbs
Sail area 95 sq ft
D/L ratio 271
SA/disp ratio 18.79

The Faering Cruiser

John C. Harris

John C. Harris of Chesapeake Light Craft designed the Faering Cruiser for a client who had three firm requirements for his coastal voyager: The boat had to sail, its auxiliary power had to be provided by sliding-seat rowing, and it had to have sleeping accommodations beneath the deck.

This unusual 22′ pocket cruiser from Chesapeake Light Craft (CLC) is based on traditional inshore boats of the west coast of Norway, but the initial inspiration for it came from someplace far different from that. “The boat’s owner,” says CLC proprietor and chief designer John C. Harris, “was obsessed with Sven Lundin.” Lundin is the Swede who, in 1980, sailed his 20′-long BRIS II around Cape Horn, after attempting the voyage and pitchpoling in BRIS I (it means “breeze” in Swedish) on his first attempt in 1972. Lundin made other improbable voyages in improbable boats, espousing a philosophy of low cost, easy handling, shallow draft, and beachability. His boats also had no engines, and had to row reasonably well.

Harris’s customer did not intend to cross oceans, but rather wanted to make alongshore expeditions under sail and oar, and this posed a problem for the designer. He saw Lundin’s “pod”-style boats as well adapted for long offshore passages, but not so great for inshore work. His customer also wanted a sliding seat, which dictated a cockpit layout centered in the middle of the boat, which bumped the cabin from its traditional place. These constraints are what led Harris to the traditional boats of Norway’s Nordland county.

Nordlandsbåts, as these craft are called, are characterized by high, plumb ends, and sheerlines that sweep dramatically low amidships. The subtypes are named for the number of oars they carry: The small ones, faerings, have four single oars, while the larger fembørings have five pairs of oars. Harris had already designed a faering for stitch-and-glue construction, and saw an opportunity to stretch that hull to accommodate his customer’s wish for a sliding seat and cabin. The Norwegian vernacular boats held more precedent, for fembørings often have raised-deck cabins in their after ends, out of the way of the open middle working portion of the boat. And so the general form of the cabin fembøring guided Harris in the design of his new boat, which he poetically calls the Faering Cruiser. In the Norwegian tradition he might more accurately call it a toaering, for it has but one pair of 9′ sculling oars, which live permanently at the ready, resting in their oarlocks with blades strapped to the gunwales.

The oars posed a design problem, for the boom and mainsheet occupy the space through which the rower sweeps with each stroke. Harris solved this dilemma with lazyjacks, which lift the boom clear of the rower’s head. For rowing, the mainsheet must be unshackled from its deadeye and moved to a forward location, out of the way of the sliding seat.

The seat is a shop-made, drop-in unit that lives in the cabin when not in use. With the seat removed from the cabin, there’s room for a tired body to rest and read—but not much else. While the boat has room for a passenger on day trips, this is a solo sailor’s expedition boat. In fact, I’ve come to think of it as a great option for a frustrated kayaker who does not relish the idea of having legs immobilized for hours on end, or paddling hard into a breeze that could be providing motive force. In fact, it would be most helpful to view the performance of the Faering Cruiser against other expedition-style boats—particularly kayaks—than against performance daysailers. Because if you want a boat that’s dry and nimble and tacks on a dime, there are better options than this one. But if you want to go where kayaks go, but faster, with more gear, less exertion, and more excitement, then stay with me for a description of the new boat’s performance.

John C. Harris

The Faering Cruiser’s oars live in their oarlocks when the boat is underway, and the looms are strapped to the boat. The sliding seat assembly lives in the aft sleeping compartment, and is easily dropped into place.

When we stepped aboard the boat, the boom was cocked up high in the lazyjacks. Harris gave me a quick tour of the control lines, and then raised the sail with the lazyjacks still engaged. “Like all of these boats, you want lots of downhaul,” he said tightening the sail’s luff. He then lowered the centerboard, which has two control lines—one to hold it up, and one to hold it down—obviating the need for ballast to sink it, but obstructing its ability to kick up in the case of an accidental grounding.

Harris then departed in the dinghy, leaving me alone to test out the boat. He offered to cast me off from the dinghy, saving me from crawling forward on the narrow foredeck, but I declined, wanting to experience the boat fully. The narrow deck and the forward extension of the lug made for an awkward operation, but after lowering the lazyjacks I slithered out to the bow cleat and dropped the mooring pennant with my reputation intact, and it occurred to me that a mooring point closer to the cockpit would be a welcome addition for the soloist. I did not relish the thought of returning to the mooring under sail and, as we shall see, I furtively chickened out from doing so.

The Faering Cruiser’s long keel and relatively large lug sail make it go like a freight train while tracking dead straight, and it’s easy to see the joys of long inshore passages in this boat, the cabin packed with books and food. One must be mindful of the limitations imposed by that dead-straight tracking, however, when it comes time to change tacks. This boat is slow in stays, and really must be sailed deliberately through the wind, rather than slammed over. In fact, you can’t slam it over, because the rudder, way back there on the stern stem, is connected to the cockpit-mounted tiller via cables and quadrant. Detents in the system limit the swing of the rudder to about 45 degrees—an ample amount, but a limit one should be aware of, which I was on my second tack.

John C. Harris

The Faering Cruiser’s owner chose a lug rig for its ease of handling and low center of effort. Harris has drawn an alluring sloop rig, too.

I made my first tack to avoid a transient yacht sitting on a WoodenBoat guest mooring. The boat was slower in stays than I expected it to be, and not wanting to be the guy who T-boned a parked boat while shaking down a new design, I abandoned my experiment, grabbed an oar from its holster, and took a few strokes to get her through. On later tacks with more searoom, I learned that the boat always had enough way to carry through stays, and that a touch of backwind in the big lug sail will speed things along. I also learned that, in this breeze, I much prefer to jibe this boat. The maneuver is faster than tacking, and is easily controlled in the usual way by letting the mainsheet run after the jibe, and holding the helm hard over as the boat comes around, so by the time the boom crosses, the boat is on the new reach and there’s a bit of a luff in the sail. That’s called a Hudson River jibe, I’m told. Running dead-downwind, the boom of this unstayed balance-lug rig can be let to run forward like a weathervane—a depowering maneuver.

The mainsheet has a handy cam cleat where it exits the block. It was gusting 18–20 on the day of my outing, and the sheet kept cleating itself when I trimmed, because of the angle. I’d be inclined to do away with that cleat, and instead have a post or horn cleat that the sheet could be turned around, but not belayed. I almost dumped the boat in one puff, and I do believe it would have been fun if I had, but I just wasn’t in the mood for such shenanigans that night. I did fill the cockpit with water, and was delighted and relieved to see the angled-aft drain tubes work as intended.

I took a reef to see how that system works. Quite simply, it did so quickly and flawlessly. The tack line and halyard were handy to the helm, and the clew line was led far enough forward on the boom to be taken in comfortably. There were nettles, too—those small lines tied into the sail that allow the excess to be rolled and secured into a nice neat bunt. Wanting to keep my center of gravity low in this breeze, I deemed them unnecessary and skipped them without penalty. On a long voyage I might have tidied them up for the sake of satisfaction.

When it came time to put the boat up, I told Harris I was dropping the sail to test out the rowing rig. But the truth is that I didn’t want to crawl out onto the foredeck to pick up the mooring under sail. It was a nice row back once Harris reminded me to raise the centerboard, which was very effectively keeping me from heading into the wind. My performance in the sliding seat was awkward, but that was me and not the boat, as it’s been years since I rowed like this and it was choppy that night. I do believe I could establish a proper rhythm in a flat calm—the most likely scenario in which one would row this boat—and could pace myself for miles. Harris reports having made a couple of knots into a 12-knot headwind, which bodes well for the boat’s ability to exit a crowded harbor under oars.

John C. Harris

While slower in stays than an average sailing dinghy, the Faering Cruiser tracks beautifully. One can imagine long days island-hopping on Maine’s Island Trail.

A solo builder spent about a day assembling the computer-cut hull of the prototype Faering Cruiser. The hull was planked in 9mm okoume bent around bulkheads and frames and stitched together along the laps—the same system CLC uses for its kayak designs. It’s an approachable method that has made boatbuilders of many first-timers working in unlikely places, such a studio apartments, dormitories, and small living rooms.

That day of assembly is a rewarding first step, but its time poses a deceiving number: The boat’s entire construction took 700 hours, and that included the strengthening, or “filleting,” of joints with thickened epoxy, the construction of the cabin, fiberglassing, the finishwork and fitout, and the rigging.

On his blog (at www.clcboats.com), Harris initially expressed an unwillingness to offer a kit for this boat, but the response to it has been positive and he’s recognized the interest of “a few rugged latter-day Vikings.” The price starts at about $4,500, and Harris recommends a skill level of intermediate and up. If you’ve built a few kayaks and would like to expand your cruising range and adrenaline output, this boat deserves a close look.


For more information, contact Chesapeake Light Craft, www.clcboats.com.

The Faering Cruiser’s long, straight keel and ample skeg make for good tracking, while near-circular sections offer minimal wetted surface for fast sailing and rowing. The accommodations (bottom profile) are small but surprisingly comfortable—even for the mildly claustrophobic.

CLC Faering Particulars:
LOA 22’6″
LWL 21’1″
Beam 4’10”
Draft (board up) 8″
(board down) 36″
Trailer weight 530 lbs
Max displacement 1262 lbs
Sail area (lug) 125 sq ft
Sail area (sloop) 143 sq ft

A Cape Cod Oyster Skiff

Rosemary Wyman

Andrew Kitchen of Irondequoit, New York, had always wanted to build a sharpie, and he settled on Reuel Parker’s adaption of a historic boat recorded by Howard I. Chapelle, originating from Cape Cod. The sail reefs by being drawn to the mast.

When people rhapsodize about shapely curves in boats, they usually are taking inspiration from round-bottomed hulls, often with wineglass transoms. Doing so, however, leaves off entire sets of criteria—ease of construction, cost, practicality in use, suitability for local waters, and form stability among them—that will ultimately be in the mix, like it or not, when a boat is judged to be a success or a failure. When a full set of criteria is brought into play, it is apparent why flat-bottomed and hard-chined boats have survived the ages as well as their round-bottomed cousins. The surprise is that they can be every bit as eye-catching.

Andrew Kitchen, an upstate New York resident who has an eye for quite a variety of boats, had his head turned last year by a sharpie, a historic American workboat type used far and wide. The particular model he admired was adapted by Reuel Parker as a 14-footer intended for pleasure use and published in his The Sharpie Book. Parker’s version was based on an 18′ workboat used on Cape Cod for oystering and documented by Howard I. Chapelle in his classic American Small Sailing Craft. Kitchen was casting about for what would be the fifth boat in his fleet, which now ranges from a MacGregor canoe to an Iain Oughtred–designed Ness yawl. He even dreams of building a heavy Yorkshire coble of the type he grew up among in his native England. For the winter of 2012–13, he settled on the sharpie, which he could build mostly using materials he had on hand, even sewing the sails himself from a Sailrite kit. His goal was to have the boat ready to sail solo in the 2013 Small Reach Regatta (SRR) in Maine, in which he has participated regularly for many years.

Rosemary Wyman

The sharpie’s flat bottom has ample rocker aft, bringing the nicely shaped transom above the waterline.

“It was a nice little project,” he said. “It was something I could have in a short period of time, and I decided in the fall that I had to build it by the summer—I couldn’t spend my usual one or two years on the boat.” He usually sails on Irondequoit Bay off Lake Ontario, and originally he had in mind bringing his MacGregor to Maine for the annual rendezvous. To prepare, he tried a new rigging setup meant to improve versatility, with the varied conditions of solo sailing on the coast in mind. It didn’t go well. “I thought, I’ll do this, and I’ll see if I like sailing it this way. So I took it out on the bay, and proceeded to have a great time until I got hit by a gust of wind and capsized. There I am in a tangle of masts and rigging, because there’s so much rigging on a boat like that. So the MacGregor, I decided, is not the boat for me,” at least not for the SRR. “You can’t hike out, and you’re a sitting duck if the wind hits you.”

Given that experience, the simplicity of the sharpie’s rig, not to mention its hull form, kept Kitchen coming back to Parker’s book. The boat would be easy to handle while sailing alone, even in comparison to his Ness yawl, which he ordinarily sails with crew. Ideas started to percolate.

Rosemary Wyman

Turning blocks on the mast partner lead the snotter line (at right in the photo) and the reefing line (at left in the photo) aft to be in easy reach.

Rosemary Wyman

The plywood centerboard, shown here fully retracted and pinned, lowers by means of a hinged handle visible along the top edge of the board.

Kitchen is an inveterate tinkerer. His boats show personalized solutions to problems, and a distinctive and personal style of woodworking. “I was trying to use as many scraps of lumber as I had to keep the price down,” he says, including some sheets of okoume plywood, 1⁄4″, which he used for the sides and 3⁄8″ for the bottom, sheathed on the exterior only in 6-oz fiberglass cloth set in epoxy. The interior is coated first with Deks Olje No. 1 and then painted, a method Kitchen favors for all his painted or varnished surfaces. For some assemblies, he joked, “the inside is kind of the way they used to build cathedrals in Britain—the outside looks beautiful, but the inside is just rubble!”

His tinkering with this boat started with the shape itself. “I wanted a sharpie,” he said, so he stretched the length from 14′ to 15′ overall, adding about 1″ of freeboard one-third of the way forward from the transom and 11⁄2″ at both at the transom and the stem for a bit more spring in the sheer. He did this by simply expanding the spacing of the station molds, which meant there was no corresponding increase in beam. “I may be damned for it, but as I wasn’t increasing the sail area,” which is 75 sq ft in a single triangular sail, “I felt all I was adding was stability and, for an old person, it’s good to have a boat that you can handle.”

For the SRR, he wanted a boat to fit the rules and the spirit of the event, which calls for seaworthy sailing boats that have oars as their auxiliary propulsion. The boat’s beam of 4′ 3″, however, posed a rowing puzzle: the gunwales were rather close together for effective rowing, and low enough to put the oar handles in conflict with knees. Kitchen’s solution was to create wooden outriggers, simple wooden constructions in a loose L shape that slip alongside the side panels, to be trapped by both the inwales and seat risers. The result is that the oarlocks are higher than the gunwales by a couple of inches and outboard by about 10″ per side—without the need for complicated and permanent hardware that would be in the way while sailing or trailering. He uses 9′ oars, the same oars he uses for his Ness yawl. Fitting the outriggers is simple and handy, and in my time at the oars, overcoming a strong current in light air, I found the rowing enjoyable and the boat easy to move.

Rosemary Wyman

The boat’s shop-made wooden outriggers are L-shaped. One leg slips down along the inside face of the hull planking, to be snugly held by the gunwale and the seat riser, permitting the use of 9’-long oars and greatly improving rowing efficiency for a hull that is only 4’3” wide.

Kitchen also took a hard look at the rigging. The triangular sail is low-profile and uses a sprit-boom, a marvelously effective device for making the sail flatter or fuller to adjust to any wind condition. The line that captures the heel of the sprit—called the “snotter” line—is hauled to increase sail tension or eased to reduce it. The plans leave a lot of room for interpretation on how the rig actually works, so knowing that he was planning to sail solo, Kitchen wanted the snotter line led aft, where he could reach it from the cockpit without having to leave the tiller. The line belays to a cleat to port, making the reach a simple one.

He also wanted to be able to reef the sail from the cockpit, which presented a more complicated problem. To reduce the area of this kind of triangular sail, traditionally, reef nettles were built into the sail in a vertical line, parallel to the mast, to which they would be made off. It was always a clever and simple way to reduce sail area, but in practical terms it meant getting the mast down to reef. Andrew had the idea of linking the reefing lines through brass loops, leading them in a series to be spliced into a single reefing line that could be led aft to a cleat to starboard. The system works well in reefing—the sail can be shortened quickly this way. In casting off the reef, however, he found that the lines tended to bind, preventing the reef from shaking out fully. “I wish I could say that it’s entirely successful,” Kitchen said. “I look at a problem and basically try to solve it myself. This is basically a bunch of brail lines, and I wanted them all going to one line that I could lead back to the cockpit.” Kitchen’s “full disclosure” admission during our sail was that he launched the boat only a week before the SRR, so he had little time to work out any bugs. Clearly, however, his mind was already turning over modifications and improvements, starting with how the reefing lines can be made to run freely and how to keep halyard tension on the reefed sail.

Designer Reuel Parker has long been an admirer of sharpies, and for The Sharpie Book (International Marine, 1994), he took a fresh look at numerous designs, one of which was an oyster skiff used for the shoal waters around Cape Cod. He adapted the boat for plywood construction—a simple task for a flat-bottomed boat—and reduced its length to 14’. Andrew Kitchen, who built the boat shown in this article, adapted the design by adding a foot of length and raising the sheer a bit.

Kitchen took admonishments from both Chapelle and Parker seriously for this boat. Both warned about the danger of capsize and the need for careful work at the tiller. Kitchen never cleats his sheet, instead taking it directly from a turning block to his hand. He also fitted four sizable flotation bags, especially since the top of the centerboard trunk is open, making bailing much harder if the boat is awash.

In sailing, the boat can tend to pound, especially in motorboat wakes. It can also be difficult to tack in a chop. “She handles well in smooth water,” he says. The boat also goes to weather well, often pointing higher on the wind than other types. So far, he has concluded that the boat doesn’t sail terribly well in light air—in fact, “I find her a little bit of a dog in light air. Most of the other little boats were overtaking me. The only advantage I had was I found that I kept up with them because when tacking I could get closer to the wind than they did. She likes a fresh breeze, but not overpowering—then she takes off.”

We had weather like that often at the 2013 SRR in Muscongus Bay, and I observed Kitchen’s boat moving well, with her transom tucked up prettily and the heel of the stem riding just above the surface, which Chapelle noted was the trim favored by working sharpie sailors. And there was Kitchen, in a big floppy hat, the tiller in one hand, the sheet in the other, and the biggest grin imaginable.


Plans available from Parker Marine Enterprises, Inc., www.parker-marine.com.

Cape Cod Oyster Skiff Particulars:
LOA designed 14′
LOA as build 15′
Beam 4’3″
Draft board up 9″
board down 2′
Sail area 75 sq ft
Weight 150 lbs

 

Beach Pea

Benjamin Mendlowitz

Beach Pea is based on the well-known peapod type that evolved on Maine’s Penobscot Bay in the 1870s, but built of lightweight plywood. It retains the earlier type’s oar steering and simple sprit rig.

In the course of a decade, my appreciation for the Doug Hylan–designed Beach Pea has grown from a casual admiration to an abiding need. I first encountered the boat in 1997, when Hylan published in WoodenBoat a series of articles on how to build this glued-lapstrake plywood interpretation of the classic Maine peapod. In crisply drawn plans and clear words and photographs, he walked the reader through the steps of building the boat, and in the final installment included details on rigging and sailing.

Howard Chapelle, the great American boat historian, recorded the details of the peapod’s origins and use in his book American Small Sailing Craft. They were double-ended inshore lobstering boats that first appeared on the Maine island of North Haven around 1870 and quickly spread to other parts of the coast. The boats were symmetrical fore and aft, and sometimes carried small spritsails; they were typically steered with an oar when under sail. Original peapods were planked both both carvel (smooth-skinned) and lapstrake, and averaged about 15′ in length—though some were bigger and some smaller.

Hylan’s, at 13′, would look right at home among the ledges of Penobscot Bay—at least from a distance. (Hylan offers a 15′ version of this boat, too.) A knowledge able observer from 1870 making a close inspection of Beach Pea, however, would immediately notice that the boat has no frames. Their absence is a hallmark feature of the glued-lapstrake plywood method, which allows for the construction of relatively low-maintenance and neglect-resistant wooden boats. Which is not to say that neglect is desirable or something to be guarded against, but let’s face it: On modest maintenance budgets and limited time schedules, tenders often suffer for the bigger boat. I know many glued-lap dinghies in our area that are managed rather like rechargeable batteries, their finishes serving for several years until the boat looks unbearably bedraggled, and then the whole thing painted to like-new condition. It was, in fact, a benign amount of neglect in a used Beach Pea that allowed me to acquire one of these durable boats quickly and within budget a few years ago.

My wife, Holly, and I bought a 34′ cruising sailboat in 2008. Before the birth of our first son, we built a tender for it—a nice, small dinghy that would carry us all that first summer. With a wheel tucked into its bottom in the bow, this little boat was easily hauled up on the shore, and it remains a fine boat for its niche: We use it to this day for beach-launched ventures from a rocky shore in our neighborhood. But it’s too small for two growing boys and their parents to pile into for a trip from the mooring to the lobster pound. With the birth of our second son, it became abundantly clear that if we were to cruise in a safe and sane fashion, then a larger dinghy was needed.

Inspired by several cruising friends who have owned and loved classic plank-on-frame peapods as their primary tenders, and knowing that I wouldn’t be building a new dinghy in time for the next season, I scoured Maine Craigslist for candidates, and found several. As I was narrowing the field, an unexpected prospect appeared: A man in Massachusetts was selling a Hylan-designed Beach Pea, built from the pages of WoodenBoat all those years ago.

This was the perfect dinghy for my family of four. It rows easily with four grown people aboard, it tows well, and it’s much lighter than a traditional pod; we can carry it a short distance on the beach, and roll it longer distances on a beater fender. With no frames, it is very easily cleaned of the inevitable sand that accumulates in it. It has two rowing thwarts, plus seats in either end.

I called the seller, who had purchased it from the builder, and who was honest regarding its condition: He hadn’t used it for a while, and hadn’t had the space to store it indoors. Its finish was tired, but overall it was structurally sound. The Beach Pea, in fact, had sat upside-down in a garden for a few years, and ground contact had rotted the gunwale guard. It sounded as if there was a lot of fine boat lurking under a veil of old paint. Since the planks of a glued-plywood boat don’t dry up and split when the boat spends a few summers baking in the backyard, it all seemed like a good bet. The owner and I were 200 miles apart, but we were close on price, so we arranged to meet halfway. I bought the boat, and a winter’s worth of part-time sanding, filling, and painting—and a new canvas rubrail—yielded a tender that has become an integral part of our cruising kit.

Benjamin Mendlowitz

With its ease of beaching and good rowing and sailing, the boat makes a fine tender to a larger yacht—and a good daysailer in its own right.

Now, I realize that a run-down peapod will not be available to all of those who suddenly find themselves needing a good, capacious tender. Here’s what to expect if you want to build one of your own:

First, the plans are on six sheets, and include full-sized patterns, which means that the boat does not have to be drawn full-sized, or lofted. The boat is built upside-down on a series of molds erected on a ladder-back building jig. The Beach Pea has five ¼” planks per side and a 3⁄8″ bottom board. These are cut to their precise shapes, and their edges beveled to receive their glued-on neighbors. The job includes good, old-fashioned gains—the rolling bevels at the ends of the planks that make the skin transition from lapped to smooth as the planks approach the stems.

The stems are laminated from thin wood, and their sides beveled to receive the planking. A cap, or false stem, covers the ends of the plywood planks, the whole assembly mimicking the rabbeted stem of an original peapod. The short floor frames and thwart knees are steam-bent. A set of floorboards allows sure footing and dry feet, and a turned post under the center thwart offers a classic touch. For the beginner, none of this is terribly difficult work if it’s taken slowly and carefully, and all of it will aid in developing the skill and confidence needed to take on an even larger project.

The optional sailing rig includes a centerboard trunk, maststep, and partners (a hole in the forward seat). Hylan has specified a rudder for the boat, though in the interest of simplicity, he prefers to sail his own boat with an oar over the stern, the old-fashioned way.

Benjamin Mendlowitz

The boomless sprit rig makes life easy for passengers. The mainsheet, let slack here as the boat drifts to the beach, is turned through a block under the sternsheets.

The boat rows beautifully, either loaded or light. It has only one set of oarlocks, which might seem unusual to those used to moving to a forward thwart when there’s one passenger aboard. In the Beach Pea, you do move to the forward thwart with a passenger along, but you then spin around and face in the other direction, using the same oarlock sockets as before, so the stern becomes the bow. That’s the simple genius of making the forward and after ends identical, as described by Chapelle.

My boat was not built to sail, but I took Hylan’s rigged Beach Pea for a spin last summer. Based on that experience, I expect there’ll be a sailing rig for mine in a few years. Before I set out in Hylan’s boat, he gave me some quick instructions (switch the oar to leeward with each tack was the main directive), and I then drifted off the beach and lowered the centerboard, my three-year-old son Linus aboard.

The centerboard arrangement deserves applause here. It’s controlled by a handle fabricated from bent bronze rod, which means you can push it down and into position positively, without having to rely on the weight of the board to sink it. And it raises up and locks into place just as easily, without having to rely on awkward purchase or a daggerboard. If you raise the board quickly enough, a squirt of water will shoot from the relief hole in the trunk’s cap, a phenomenon that elicited peals of laughter from Linus. I’m grateful that Hylan did not specify a daggerboard for this boat. Aside from the obvious and oft-cited dangers of hitting a rock with one deployed, I’ve always found them awkward to lower when sailing away from or in to a beach. The rod-pennant required just a flick of the hand. Plus, the board was always where I could find it, and not adrift, just out of arm’s reach, in the bilge. Daggerboards are simple to build and, in theory, simple to use. But I prefer a centerboard.

The steering itself is easy. This is not a pivot-on-a-dime hull, nor is this steering oar a pivot-on-a-dime rudder arrangement. But with a bit of forethought, you can be confident in the boat’s behavior, and thus thread through a crowded anchorage with ease. If you’re slow in stays, you can row the stern around.

In the early years of this design, Hylan envisioned it as sailable with no oar or rudder, thinking that shifting crew weight, sail trim, and centerboard position would steer it. And it might, but he admits to not having mastered this process yet—though he had some fun excitement trying.

Some tenders are pure utility boats, meant only to keep you dry as you suffer the trip from dock to boat. Beach Pea is more than that. It’s a great dinghy, for sure, but it’s a fine boat in itself, too. When ours isn’t swinging from the stern of our sailboat, it lives on a trailer in the driveway, and we often haul it to nearby ponds and rivers for family outings.


Plans for Beach Pea are available from The WoodenBoat Store. To correspond with the designer or to learn more about the larger version of Beach Pea, contact Hylan & Brown Boatbuilders https://www.dhylanboats.com/design/plans/beachpea_plans/

Beach Pea’s lines show a symmetrical hull fore and aft, just like an original peapod. The bottom three drawings show the details of the bronze centerboard “pennant,” which is held in both the up (top left) and down (bottom left) positions by bronze retaining clips.

Beach Pea Particulars:
LOA 13′
LWL 10’8″
Beam 4’4″
Draft (board up) 3′
(board down) 1’6″
Sail area (sprit rig) 55 sq ft
Sail area (lug rig) 54 sq ft

 

Purposeless

I’ve lost track of how many times I’ve rowed, paddled, or motored the Sammamish Slough. It’s not my closest launching ramp—it’s a half-hour drive from my Seattle home—but the slough is well protected from wind and never stirred up by powerboat wakes. I can always get a good workout by kayaking 5 miles upstream to a gravel bar where I have to turn around and paddle back. Last summer, I did that out-and-back two or three times a week.

A few days ago, I needed to take a long-overdue break from all the things I had yet to do, not only for work, but also around the house. I was tempted to take a nap, as I had been doing with increasing frequency, but that never seemed to put me back to rights. Exercise is usually a good remedy, but I was finding it difficult to muster any enthusiasm even for my favorite workout, paddling the slough. I’d seen it all so many times that I could visualize what lies on the banks of every bend. I balked at going to all the trouble of gathering my gear, changing my clothes, loading the kayak, and making the drive to the launching site. I didn’t have it in me to paddle my usual 10 miles, but I knew I’d be worse off if I gave up entirely and stayed home.

I loaded my lapstrake canoe and, along with the usual boating gear, brought a sleeping pad, two pillows, and my cagoule, thinking I’d take a nap on board.

The entrance to the inlet is just off the bow but almost invisible. Under the gear in the bow is a dry bag filled with about 50 lbs of water to keep the bow of the tandem canoe down.

From the ramp I paddled just 3⁄4 mile upstream to a small inlet I’ve passed many times, but never entered. The entrance was only about 15′ wide, and the bight ended just 50 yards in, where it was just wide enough for the canoe. I stepped out onto the bank of spongy marsh grass that compressed almost 1′ as I put my weight on it. If there was solid ground beneath the mat of last year’s now tawny stalks and leaves, I couldn’t feel it. I dragged the canoe out of the water and settled it in the marsh.

When I arrived, I disturbed a turtle sunning itself on the log behind the canoe. The near bank of the inlet was quite soft and almost sank when I put my weight on it as I stepped ashore.

I cleared the gear from the forward end of the cockpit and rolled my sleeping pad out on the floorboards. I stepped aboard and lay down on my back. The paddling had already lifted me out of the morning’s lethargy, and I was content to look up at a patch of empty sky, only vaguely catching sight of the lacy, leafless treetops at its perimeter. The floaters in my eyes made the vault of blue look like pond water under a microscope that’s not yet in focus. Translucent specks and chains, like jellyfish and algae, drifted back and forth as if washed by waves. After several minutes, I noticed two pepper-black specks among the other varied shapes that weren’t drifting with the same rhythm, but instead were slowly orbiting on opposite sides of a common center between them. As I watched, the specks grew larger, and each became oblong until I realized they were the wings of two eagles. Even before I could make out their heads, their tails flashed white as each curved northward and the sunlight glinted through their tailfeathers. The pair drifted by, some 200′ above the marsh, without a single flap of their wings, crossing the sky from west to east. They passed by the half-moon, chalk white dappled with the ash gray of its dark plains.

With the forward seat left out of the cockpit, there was plenty of room to stretch out on a sleeping pad. When the sun neared the treetops and the light breeze got cooler, I pulled my green cagoule over me.

A fly raced past directly above me and in my darting glance, all the floaters chased after it. Muscae volitantes is the Latin name for floaters—flying flies.

It was warm in the cockpit where the sunlight slanted into the hull and the breeze crossing the coaming cooled only my forearms as they rested on my chest. Beyond the bow, a stand of birch trees was newly in leaf and the clustered trunks and angled branches were not yet masked. The leaves at the crown, fluttering in the wind, sparkled like lime-green sequins.

I stayed until the sun settled to port into the spindly tops of as-yet-leafless trees a few dozen yards down the slough from the inlet. I stowed my gear, dragged the canoe around to launch bow-first, and stepped aboard to paddle back to the ramp.

In all my outings on the slough, I have been there for some purpose: exploration at first, then regular exercise and occasional blackberry picking, and this time to take a nap. Paddling had awakened me so I could rest without sleeping; I was content just to be present. I had arrived exhausted, opened myself up to experience the slough without purpose, and returned home restored.

Rhode Runner

I wanted to build an outboard boat that would be fun to use in Florida, something eye-catching and different. I had always been drawn to classic runabouts, particularly the Chris-Crafts I see in more northern waters. While they are mostly inboard-powered, outboard motors are easier to maintain in Florida’s exceptionally saline waters. The Chesapeake Light Craft (CLC) Rhode Runner was just what I was hoping to find. It’s a kit-built outboard runabout in the classic Chris-Craft style of the 1950s. With bright-finished mahogany and faux planked foredeck, it exudes elegance and prestige and would stand out among the fiberglass boats on my Sarasota waterways.

Rob Wucki

With its bright-finished mahogany and faux-planked foredeck, the Rhode Runner is a modern take on a vintage Chris-Craft runabout. There is plenty of storage space under the recessed deck between the transom and the rear seat, which is hinged to provide access.

As one of CLC’s ProKits, the Rhode Runner requires prior experience with stitch-and-glue construction. While I had previously built three stitch-and-glue plywood kayaks and one hybrid using cedar strips, as well as CLC’s Jimmy Skiff, I was unsure that I could take on this challenge; but after I spoke with John Harris, the company’s president, his confidence in my abilities inspired me to purchase the ProKit, which I completed six months later.

The builder’s guide for the Rhode Runner consists of 35 pages of computer-rendered drawings, and the construction steps are noted in a bullet list of two to six instructions, presuming the builder understands the standard boatbuilding processes. By comparison, the manual for the Jimmy Skiff II, one of CLC’s standard kits, has 160 pages, with each operation explained by one or more sentences and illustrated with a photo or drawing.

Even though the Rhode Runner guide was greatly abbreviated, it was well suited to my previous experience, and the boatbuilding I’d done previously made it easy to follow the instructions.

Bob Silverman

The Rhode Runner, one of CLC’s ProKits for stitch-and-glue construction, is assembled with neither temporary molds nor strongback. Here the starboard planking panels are being wired to the frames. Note that the frames are notched to ensure the planks’ proper alignment.

The quality of the okoume plywood in the kit was exceptional, and the milling of the CNC-cut pieces very precise. Each of the two interior stringers, two deck panels, two bottom panels, and four strakes is supplied in two pieces with interlocking puzzle joints. The mating pairs are self-aligning when epoxied together. The 3⁄8″ frames are strengthened with plywood doublers, and the aft ends of the bottom panels are sheathed with fiberglass and epoxy.

The Rhode Runner does not require temporary molds or a strongback. Assembly of the hull begins with stitching the 1⁄4″ bottom panels together along the centerline. The installation of the seven 3⁄8″ frames follows, aided by tabs that fit into slots milled in the bottom panels. Copper-wire stitches temporarily hold the pieces together. The 1⁄4″ planks in the four strakes have pre-milled rabbets that align the planks at the laps in CLC’s LapStitch method. The hull bottom gets ’glassed inside and out before the interior and the decks are installed.

The two 1⁄4″ deck pieces are tacked together along the centerline with cyanoacrylate glue, avoiding the holes required for copper-wire stitches. The top surfaces have been milled with grooves to accept contrasting strips of wood to create the appearance of a planked-and-caulked foredeck typical of vintage Chris-Craft runabouts.

Rob Wucki

Stylish and fast when carrying one, two, or three passengers, with just the skipper aboard, the runabout can achieve a top speed of 27 mph with the 25-hp outboard.

The cockpit is all plywood sealed with epoxy. There are two storage compartments along the sides in the stern. They have access openings on their forward ends and are sealed by adhesive rubber-foam gaskets on the underside of a hinged stern bench. Between the compartments, in the center of the stern, there is room for a fuel tank. A seat backrest slides into slots provided by a pair of brackets. At the forward end of the cockpit there are seats for the helmsperson and a passenger, made of 18mm plywood. I bought the kit that included the two forward seats. They add flair to the look of the boat, and have narrow fiddled shelves on the aft side of the backrests that can hold beverages and other small gear.

I installed several optional features, including a period-looking windshield, running lights, stainless-steel rubrails, upgraded seats, and a complete electric package. Hardware for a windshield and for the motor’s throttle and gear shift is available from CLC. I added switches for the navigation lights and bilge pump and installed a Garmin navigation screen with depthfinder.

Rob Wucki

With a 25-hp four-stroke outboard the Rhode Runner gets on plane easily. When at speed, the boat carves around turns rather than skidding through them.

To achieve the appearance of an original Chris-Craft, I went the extra mile and customized the upholstery with a local shop and located period-accurate flags, pennants, deck pads, and an original gas tank.

I purchased a single-axle, aluminum-frame trailer with a 1,600-lb load capacity, which supports the runabout’s weight—including motor and fuel tank—with ease. The boat behaves well on the road. It isn’t a heavy boat, so a pair of ratchet straps can keep it secure and centered on the trailer bunks. At the ramp, the Rhode Runner glides off and back onto the trailer very well.

I equipped the Rhode Runner with a 25-hp Yamaha four-stroke outboard. Its 126 lbs is ideal for fore-and-aft trim, and it is smooth and quiet from idle to top speed. The boat went on plane with ease and remained perfectly trimmed with uninterrupted visibility over the bow. When underway, the Rhode Runner is incredibly stable, and you can feel the smoothness when accelerating. The boat rides exceptionally dry thanks to the slight flare of the foredeck that deflects the spray. I was pleasantly surprised by how well it cut through the waves when crossing the Intracoastal Waterway, even in choppy conditions. When cornering, the boat dug in and stayed the course, rather than swerving out of its direction. I was able to reach speeds of up to 27 mph motoring solo, and the boat slowed down comfortably without having the stern wave pile up against the transom. The ride is incredibly smooth and stable, making it a joy to operate. I’ve only run my Rhode Runner with two people aboard, and it balances very well. I don’t doubt that having two more passengers would be just fine and it would still get on plane.

Rob Wucki

The Rhode Runner provides a smooth, stable, swift ride, and has ample space for four.

I’ve owned many boats, including Boston Whalers, flats boats, fishing cruisers, and pontoons, but if you’re after a fast, fun, and stable runabout, this is it. My Rhode Runner is an undeniable head-turner wherever I take it—both on land and in the water—with people constantly asking me how they can get one. With the quality of the kit and the easy-to-follow plans, I felt confident, after I got started, that I’d be able to complete a very solid, well-thought-out boat. Building this boat was one of the most rewarding experiences of my life. If you’d like a runabout with the look of a classic and you’ve already built a kit and are ready to take the next step as a boatbuilder, the Rhode Runner provides good value and will reward your efforts.

Bob Silverman is a business-administration graduate from the University of South Florida and now a licensed real estate-broker specializing in developing mobile-home parks in Florida. Married with two grown children, he has lived in Sarasota for over 66 years. He has lived by the water most of his life and enjoys building wooden boats, kayaks, canoes, and even teardrop campers. He’s also a vintage Ford Mustang enthusiast, with ten restorations and showings under his belt. He’s currently building a hybrid stand-up paddle board with a trolling motor.

Rhode Runner Particulars

[table]

Length/14′9″

Beam/5′5″

Dry Weight (hull only)/350 lbs

Max Power/25 hp (200 lbs max outboard weight)

Min Power/15 hp

Motor Shaft Length/20″

Fuel Capacity/6 gallons (tank not included)

Passenger Capacity/4 adults

Max Payload without motor/1,000 lbs

[/table]

The Rhode Runner is available from Chesapeake Light Craft as a complete kit, with optional seats, for $4,998. Wooden parts only ($3,639), PDF plans with guide ($199), and many other options are available.

Is there a boat you’d like to know more about? Have you built one that you think other Small Boats Magazine readers would enjoy? Please email us!

Didi 23

For many years I had searched for a boat that could sleep four, had decent headroom, a separate head compartment, great sailing performance, and a drop keel so that I could use a normal trailer. Most importantly, it had to fit in my 25′-long workshop. When I came across the Didi 26 by Dudley Dix, it seemed to have everything I was looking for, but it was just 1′ too long for my workshop. Then, I found his Didi 23, which had the same interior height and beam as the Didi 26 but was just 3′ shorter.

The plans had all the information needed to build the boat in any of several configurations. Dudley’s Guide to Radius-Chine Plywood Construction provides 21 pages of text detailing the method used for 16 of his plywood sailboats from 15′ to 40′, with 23 pages of drawings. The plans set provided enough instructions to get me started on the project, and the additional reference books cited by the designer were a big help.

I opted for the full-sized Mylar patterns for the bulkheads, keelson, and foils. There is also an option to buy digital files for having plywood parts cut by CNC machine. While the radius-chine boatbuilding technique would be faster than either strip-planked or cold-molded construction, I would suggest that an amateur builder gain some experience with the technique by building one or two smaller boats before tackling this one. Dudley provides his phone number and email address on his website, and he was very helpful in answering questions that came up. There are also several websites that show detailed photos of the build process of both Didi 26s and 23s.

Photographs by the author

The long-cockpit version of the Didi 23, seen here, provides space for a four-person crew to be comfortably seated, either side of the mainsheet traveler.

The boat is built upside down on a ladder frame. The nine bulkheads plus transom are attached to the frame and slotted into the keelson. No temporary forms are needed. I fiberglassed the 9mm-plywood bulkheads and 12mm keelson before starting the assembly. The flat sections of the hull (the side panels and the two bottom panels) are 9mm plywood, which is epoxied and screwed directly to stringers and the bulkheads. The curved chines are laminated from two layers of 4.5mm plywood cut into strips about 10″ to 20″ wide. The strips are laid diagonally to the centerline to make them easier to bend across the four stringers that establish the curve. The plywood pieces are temporarily screwed in place while the epoxy cures. The decks are also of 9mm plywood laid over the stringers and bulkheads; the cabintop is stitch-and-glued 9mm plywood.

The Didi 23’s plans include options for a short cockpit with two double berths, and a long cockpit with one double and two quarter berths. I decided on the long cockpit. The two quarter berths are tucked in the stern beneath the cockpit side benches, and there is a roomy double V-berth up in the bow. I also made a few of my own modifications; most notable is the addition of a sugar-scoop extension to the transom, which allows for easier entry from the water and docks, and when the boat is on the trailer. This increased my boat’s overall length by 20″. I also added four windows in the hull to bring more light into the interior, and changed the shape of the companionway opening from parallel sides to angled sides, making it easier to get the washboards in and out. Finally, I created a double sliding hatch for the companionway, which has given us better access into and out of the cabin. It took me just under seven months to build and paint the outside of the hull, and then another 18 months for the deck, interior, and outfitting.

The fully battened mainsail, furling jib, fully adjustable running backstay, and tracked sheet leads allow for fine-tuning that enhances the Didi 23’s performance under sail.

For auxiliary power, Dudley lists options for hanging an outboard off the transom, or mounting a small saildrive diesel under the companionway. I installed the electric Spirit 1.0 Pod Drive by ePropulsion in a motorwell beneath the cockpit floor, where it can be retracted for sailing, trailering, or while at the dock. The 1kW motor is equivalent to a 3-hp gas engine, and at full throttle will push the 2,250-lb Didi 23 along at just under 5 knots. I typically motor at about half throttle to get the most out of the small battery that came with the motor. A small gas generator installed in a lazarette compartment gives me extra battery range and allows me to charge the house battery while cruising. At some point I will upgrade to solar panels and a larger battery for the motor.

There were two fractional rigs shown in the plans, one with a 33′ mast with three spreaders and one with a 29′ mast with two spreaders. I went with the shorter option since I didn’t want the expense and complexity of the three spreaders. With a roller-furled 100 percent jib and fully battened main, the Didi 23 has a sail area of about 240 sq ft. The plans show a retractable bowsprit for a spinnaker, but I decided to wait to install this at a later date.

The faux planking of the cabin and cockpit soles lends a touch of classic style. The companionway ladder lands aft of the enclosed head and wet locker. To starboard of the ladder are the instrument panels. To port is the galley with a single-burner stove and sink. Out of the shot, aft of the ladder, two single quarter-berths extend back beneath the cockpit benches.

With the retracting keel, the boat can be easily trailered. A custom tackle system mounted on the deck and operated by one of the self-tailing winches lowers and raises the keel and its 850-lb cast-lead bulb. However, even with the 6:1 purchase that the tackle provides, 850 lbs is a lot of weight, so I recommend going with larger winches than those shown on the deck plans. The overall weight of trailer and boat is about 4,000 lbs, so it can easily be towed by a small SUV or truck.

Thanks to its shallow draft of just 20″ with the keel raised, the Didi 23 can be launched at most ramps. Setup takes me 1 hour and 45 minutes by myself, and with a helper it takes about an hour. I use a gin pole attached to the base of the mast and the mainsheet blocks with the line led to a winch to raise and lower the mast. Using the main and spinnaker halyards as temporary stays, the mast can be raised easily by one person. The plans include a choice of fixed rudder or a rudder box with a daggerboard blade. I created a kick-up-style rudder that can be mounted like a normal balanced spade rudder. With the blade positioned below the sugar scoop, there is no need for a V cutout in the extension.

Beneath the fo’c’s’le berths there is substantial stowage space. The triangular plywood insert between them provides a platform for a generous double berth, and when raised up the mast support becomes a table with cozy seating for four. On an overnight it was comfortable for the three of us to sleep on the boat. It was a little tight when we were all trying to change clothes, but still bigger than a tent. The only change I plan to make is to add curtains for privacy.

The cockpit is roomy with plenty of space for four adults to spread out—six will fit but with four the cockpit feels spacious. Down below, the double V-berth is a good size and comfortable for two. The V cushion can be removed so that a table can be raised up the mast support. This provides a dining space for four, although it is cozy and most dining and socializing will take place in the cockpit in good weather—I have a portable butane burner for use outside. There is plenty of sitting headroom throughout the main cabin. The galley holds a sink and a one-burner stove, at which one can cook if seated on a stool or kneeling on the cabin sole, and there is additional space for a cooler and a chart table.

In the long-cockpit version, there are two large single quarter berths, and in the short-cockpit version there is a transverse double. Sleeping aboard is very comfortable with ample space in which to stretch out in any of the berths.

There is generous built-in storage under all the berths, and a little beneath the cabin sole. Between the first bulkhead and the bow there is a storage compartment that I converted to an anchor well that can be accessed from the deck. Finally, the partitioned head is just big enough for someone to squeeze into and close the door for privacy. There is a small wet locker area in the head as well, which I have been using as extra storage.

The fractional rig on a 29′ deck-stepped mast supports a working sail area of 240 sq ft. There is an option for a retractable bowsprit for a spinnaker.

On the water, the Didi 23 feels like a thoroughbred. The fastest I have sailed is about 8 knots in 10 to 15 knots of wind. But another Didi 23 owner tells me that he regularly beats 40′ boats in races in the Columbia River Gorge. The balanced rudder steers with an effortless ease. The boat tracks like it’s on rails, and with more than a third of the total boat weight in the keel bulb 6′ down, it is exceptionally stable.

My family and I have very much enjoyed the boat so far, and I highly recommend the Didi 23 to anyone looking for a high-performance trailer-sailer that is as well-suited to cruising as it is to racing around the cans.

Casey Wilkinson owns Kea Custom Boats and lives on Bainbridge Island, Washington, with his wife and daughter. Casey started Kea Custom Boats in 2006 and has built more than 50 wooden boats ranging in size from kayaks, dinghies, and rowboats to speedboats and sailboats. Casey spent much of his career as a marine biologist and enjoys sharing his love of the marine environment with his family and clients. Casey has photos of the Didi 23 construction on his website.

Didi 23 Particulars

[table]

LOA/23′0″

LWL/21′8″

Beam/8′1″

Draft (min)/ 1′8″

Draft (max)/ 5′7″

Displacement to DWL/ 2,865 lbs

Sail area/263 sq ft

Headroom/4′3″

[/table]

Is there a boat you’d like to know more about? Have you built one that you think other Small Boats Magazine readers would enjoy? Please email us!

DIY Soft Shackles

The soft shackles I’ve seen in marine supply stores look like a great idea, but I’ve never been tempted to buy any despite the many advantages they have over their metal precursors. While they’re lighter and less prone to harm woodwork or people, won’t corrode or seize up, and don’t require tools to use, they are expensive and the high-tech Dyneema from which they are made seems out of place on a traditionally built wooden boat.

I’ve worked with Dyneema and its very slippery braided fibers require splicing and tying methods unlike anything I’ve seen in my well-used copy of Ashley’s Book of Knots. Then I discovered that there were ways to make soft shackles with ordinary cordage, so I made some. I found several different methods of tying them but there is only one I would trust in use on my boats.

The commercial Dyneema soft shackles have a stopper knot on one end and a small loop on the other formed by inserting one end of the hollow-braid line through the other. The loop can be cinched tight behind the stopper to keep it from slipping through, which is possible if there is no tension on the soft shackle and it gets shaken, say, by a flogging sail.

Photographs by the author

In addition to the hard braid, kernmantle, and soft solid braid cordage I’ve used, laid line works just as well.

I’ve made soft shackles in laid line, solid braid, and kernmantle cord in both 1/8″ and 3/8″ and they have all worked well using the same method. The stopper knot starts with a common slip knot (Ashley’s #43 Noose) and becomes a thick stopper knot (Ashley’s #526 Oysterman’s Stopper) by tucking the free end through the loop and cinching the loop around it. The loop on the other end of the soft stopper is folded back on itself to form a lark’s head (Ashley’s #5 Bale Sling Hitch) that is cinched around the stem of the stopper knot.

A short soft shackle connects my canoe’s spinnaker sheet lead to its deck-mounted pad-eye.

I’ve used small soft shackles to connect spinnaker sheet leads to pad-eyes on my decked canoe, an application where metal shackles are commonly used. I’ve also made soft shackles for the jibsheet leads on my sailing Whitehall where the open gunwale isn’t well suited to adding pad-eyes. Here, I made the soft shackles long enough to wrap around the inwale. In both instances, the soft shackles can twist to allow the sheaves to align with the sheets.

I’ll be looking for more uses for soft shackles. Sail stops are next. Indeed, wherever I need a loop of a fixed length, a soft shackle might be a good replacement for metal hardware or knot tying.

The length of line varies with the size of the soft shackle needed and the thickness of the line. The stopper knot takes up a good share of the line.

The stopper knot starts with a loop in the line’s ends.

A bight pushed through the loop creates a slip knot.

Snug the hitch at the base of the slip knot. The loop should be big enough to pass the ends of the line through. Note the end of one line peeking out from my thumb. There are long tail ends.

Bring the ends up to the loop.

Tuck the ends through the loop.

Cinch the slip knot tight around the tail ends. There may be some slack out through this stopper knot.

With the slack pulled out, the stopper knot forms a neat knob.

The back side of the stopper knot shows the knob surrounds the loop end of the shackle.

You can slip the shackles loop over the stopper knot and it will hold for some temporary uses. With my right hand, I’m getting ready to form the lark’s head, which will make the shackle very secure.

I’ve spread my thumb and index finger to begin the lark’s head.

Pinch thumb and index finger over the base of the loop.

The loop is slipped from the fingers and the lark’s head is formed.

Open the lark’s head wide enough for the stopper.

After the stopper is slipped through, the lark’s head is ready to be snugged.

The finished soft shackle is ready for use.

 

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Christopher Cunningham is the editor of Small Boats.

You can share your tips and tricks of the trade with other Small Boats Magazine readers by sending us an email.

My Texas 200

REDWING, my home-built Belhaven 19, was one of 80 or so boats that entered the 2022 Texas 200, a raid covering a 200-mile-long stretch of the Texas coast. The course meanders north roughly following the Intracoastal Waterway (ICW) over a five-day period beginning June 14th. Much of the mainland and many of the barrier islands along the route are uninhabited and covered with scrub.

I thought my boat and I were ready for the challenge. I had finished building REDWING the previous fall and sailed her on my local Kansas lake all spring, leaving her docked in the water for several weeks to make sure she was watertight. The boat sailed great as I prepped for the challenge.

As I was making final preparations while docked at my lodging in Port Mansfield, I noticed the rope used to lift my offset centerboard was loose. I unscrewed the trunk top and quickly realized the rope-to-board attachment had broken off during transit. Only then did it dawn on me that I had not lowered the board onto the support I had built on its trailer to keep pressure off the board’s lift system so this would not happen.

My truck and trailer were parked 200 miles north of me, up the coast at Magnolia Beach, waiting for me to finish; I couldn’t just pull out of the event here and go home. The few sailors I had met had already taken off, so I couldn’t enlist them to help. They were sailing across Lower Laguna Madre along the dredged Mansfield Channel, across Padre Island (a 113-mile-long barrier island), along the 3-mile-long East Cut to Camp One, nestled in the protection of the Mansfield Jetties guarding its opening onto the Gulf of Mexico. I didn’t know anyone near the launch area, so I had only myself to figure this out. I decided to jury-rig the centerboard lift rope so I could make it to Camp One, where I could get assistance from some of the knowledgeable builders sailing the raid and, with their help, fix my problem.

Roger Siebert

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I tied a line to one side cleat and ran it under the boat to the opposite side, believing I could apply enough force to raise the centerboard by pulling on the line, which I could then cleat off. I was able to raise the board some, but not all the way up. With it down, REDWING draws close to 4′; with the board fully raised she can sail in 8″ of water. I guessed the keel was up about a third to halfway and I was drawing 2′ or so. The board weighs 50 lbs with most of its weight, molded lead ’glassed onto the wood, at its tip.

My boat looked goofy with a line cinched tight around her waist, and sailed poorly with her board only partially lowered with a 1⁄4″ rope spoiling the smooth flow of water around the hull. As I headed out of the marina, REDWING was double-reefed and had trouble beating to windward on a heading due east to Camp One, which was 9 miles away at the far end of a manmade cut that connects the protected waters of Laguna Madre to the Gulf of Mexico. The wind was cranked up with gusts up to 30 knots. At one point, I drifted to leeward out of the channel, hit bottom hard, and came to a stop. I started my outboard and was able to back out of that predicament.

Photographs by the author

KATHERINE ANNE, the dark blue Drascombe Coaster owned and singlehanded by Tommy Tucker, sailed the Land Cut alongside WATER ON THE MOON, a MacGregor Venture 21 custom-modified by John and Jennifer Harnett.

I knew there was a group bypassing Camp One and heading to Camp Two to spend the second day fishing. So, instead of fighting the wind with a broken boat that wouldn’t point worth a darn, I bore away and headed north for Camp Two on the Land Cut, a 20-mile channel dug across Saltillo Flats, an expanse of tidal shoals, mud, sand, and islets that separate North and South Laguna Madre. By skipping Camp One, I’d have a full day to work on the centerboard before the bulk of the fleet caught up. I removed the sad-looking line from the board, let the board drop, and took off downwind on the best sail of my life. REDWING was flying. The navigation app on my phone consistently read 6, 7, and 8 knots as I tore along South Laguna Madre headed to the cut. With the wind at my back, I was having a blast. It was easy keeping the green markers to starboard and red to port. To avoid commercial traffic, I stayed as far to the side of the channel as possible, as we’d been instructed in our pre-departure briefing.

After an hour of high-speed sailing, I noticed 1″ of water sloshing in my cabin, not enough to worry about sinking, but enough to be highly irritating. I threw some sponges down into the cabin and periodically went down to wring them into a bucket.

I entered the Land Cut in the early afternoon. The ICW narrowed to about 100 yards, but the sailing stayed the same. There are no hills or trees to break the wind, so REDWING continued clipping along.

The afternoon of Day One I was stuck on a mud bank in the Land Cut, a couple of miles south of Camp Two. The centerboard was not operable at this point, and I was about to enter the cabin to remove the top of the centerboard trunk and assess the problem. The trunk is offset to the port side and not visible.

By midafternoon, as I was getting close to Camp Two, I wanted to stop along the channel and deal with the water intrusion. As I was lowering the outboard and firing it up so I could drop the sails, I got lazy and let a wind gust blow REDWING into a mud bank. I was stuck in 4″ of water with the wind and waves pushing me onto a lee shore. I quickly dropped and bundled the sails to relieve some of the pressure pushing me into the mud. I tried backing out with the outboard in reverse, but that didn’t work. I pulled my secondary anchor—a light Danforth knock-off I had been given—out of the stern locker and tossed it as far into the wind as I could, maybe 8′ out. I tried kedging off the mudflat; that didn’t work. It all seemed futile as long as the wind was howling from the southeast. I was stuck.

After sponging several buckets of water out of the cabin, I started snooping around for the leak. I found only one place where there was a shiny telltale sign of seepage. It was from the gudgeon bolts in the transom. Evidently, I hadn’t sealed those holes well. It took me eight years to build my boat, and in my rush to finish it I must have missed caulking the bolt holes. To my credit, I had left REDWING in the water for three weeks prior to leaving home for this trip, and had sailed her hard with no problems, but my best guess is that being loaded with expedition supplies was causing the boat to ride lower in the water, submerging the lower gudgeon bolt holes. Unfortunately, the bolts were not easy to access; I couldn’t pull them under these conditions. I would live with the leak for now, glad I had good sponges.

With the cap of the centerboard trunk removed, you can see the damaged wood on the board where the lifting hardware worked its way out during the long drive to the launch site. The red cord is the loop I made that allowed me to reattach the lifting tackle. This worked well for the rest of the Texas 200.

Next, I unscrewed the centerboard trunk cover and found the board had been pushed almost fully up by the mud bank, giving me easy access to the broken attachment link. I had a new one in my repair stash and had it installed in no time. The board now worked as it was supposed to.

I fully expected to spend the night stuck on the mud bank. There were no fishing boats around that I could ask for a pull. There was still daylight, so I decided to raise the centerboard all the way up, kedge with an anchor off the stern, and simultaneously run the outboard in reverse. REDWING slid right off the mud bank, into the ICW. Another answer to prayer. I motored a mile or so to where I thought Camp Two would be, put two anchors out, and called it good. There was a dried mudflat next to the shore where I thought I could stretch my legs. All my studying for the Texas 200 indicated that there was no way to avoid mud along the Land Cut. The shore here was not only muddy, but the mud had the smell of decaying vegetation. This is the type of mud that when you step into it you sink 6″ or more. The wind was still howling out of the southeast, it was still hot, and I was tired.

A row of red lights from the towering three-bladed wind turbines shone out a few miles to the north. Around 10 p.m. a barge came by steaming all blue lights, playing rock-’n’-roll music.

I couldn’t figure out how to get comfortable enough to sleep in the cabin. I was hot and sweaty lying on the bunk trying not to move and create even more heat. Sometime after midnight I fell asleep. Around 3 a.m. I pulled a sheet over me to warm up. I didn’t need the blankets I’d brought.

LA BELLE, a white 21′ Sea Pearl owned by Doug Geis, anchored alongside my red Belhaven 19, REDWING, on Day Two. Doug managed to get his tarp set despite the strong winds. The inescapable mud made this, Camp Two, everyone’s least favorite campsite.

Eearly the next morning, Doug Geis motored up in his Sea Pearl, LA BELLE, and pulled ashore alongside REDWING. He shared that he, too, had gotten stuck on a mud bank yesterday for a few hours until a friendly fisherman with a powerboat pulled him off. That made me feel better.

REDWING does not yet have a bimini, so I had to do my best to moderate my sun exposure. I noticed PENNY MAE, the other Belhaven 19 in the fleet, had a bimini, which seemed to be much more comfortable than being swathed like The Invisible Man.

The wind was still blowing like stink and whitecaps were marching north along the cut. Doug wanted to relax and get out of the sun. There is enough room between his two masts for him to spread a tarp for shade, but as he wrestled it against the wind, trying to tie it over LA BELLE’s forward boom, it tried to fly away several times. After a while he got the tarp set, but it had too few grommets to tie it down securely enough to keep it from flapping. I was sure that the noise of its constant snapping would make it impossible for anyone to find rest beneath it, but I didn’t see Doug for a few hours and could only assume he had somehow fallen asleep.

On the morning of Day Three the fleet sailed down the Land Cut toward Baffin Bay. SANS-CULOTTES, the yellow West Wight Potter, was sailed by Conor McAlister and Sam Medina, two Texas teens in the Sea Scout program. It was clear that they were enjoying challenging themselves with no adults to boss them around.

I didn’t have much experience in heavy-weather sailing, but REDWING was designed to sail safely in strong winds. Both sails have two reefs, and the masts are unstayed and bend to spill the wind. I built the hull and I know it is strong. But the Texas 200 is not a race. I could set sail when I felt comfortable to do so; if I sailed conservatively and took care of REDWING, she would take care of me.

Around noon the fast boats—Hobie Cats and trimarans—passed by and continued down the 24-mile-long Land Cut. It seemed that they would not be camping along the Land Cut but were going to land farther north where the beaches are sandy.

I saw fish jumping not too far offshore, so I grabbed my fishing rod and hiked along the shore for a mile trying catch something. No luck. Later, Doug told me the fish I had seen jumping were mullet, and they jump just for the fun and not because they are feeding.

On Day Three, as the fleet was sailing the north end of the Land Cut, fellow sailors assisted a member of the fleet who had accidentally capsized.

At about 3 p.m., my friend, Fred Jelich, on his home-built Buccaneer 24 trimaran, MALABARKA, pulled alongside. He had stopped earlier that afternoon along the Land Cut to chat with some other crews whose boats were anchored. While there, his boat had broken free of its anchor and started on its own journey down the ICW. Fred made a last-ditch jump for the high-sided transom while his feet were still sunk in the thick, oozing mud, and lost his sandals in the process. Somehow, he managed to get a hold on the stern of the main hull and hung on as he was dragged through the water of the ICW. Fortunately, another boat came to his rescue and helped him climb aboard and regain control of his wayward boat.

It was approaching 5 p.m. when what looked like a 20′ sloop tried to anchor 100 yards north of where Doug, Fred, and I had pulled ashore. The soloing sailor seemed to be having trouble getting his boat close enough to shore to throw an anchor out and get it set. He was struggling and it wasn’t going well. He slipped into the water with his anchor and rode and began swimming to shore. I quickly put on my muddy shoes, hopped off my boat, ran down the beach, waded in up to my shoulders, and grabbed his anchor. Together we pulled his boat in.

The wind never let up that day, and I would spend a second night here. There was no phone reception, no firewood, and no shelter from the howling wind. We pulled our chairs out for a bit of socializing, but it didn’t last long. We were all tired and looking forward to the next day’s Camp Three, which had a nice sandy beach free of mud.

In the morning, another group sailed by. My plan was to motor out into the ICW, then raise the sails as I drifted down the ICW with the wind at my back. It seemed it would be a sailorly thing to do, but I quickly discovered that trying to raise the sails with a strong tailwind while trying to manage the outboard motor and tiller would make me look less like a sailor and more like a fool. I got the sails raised and the boat under control just seconds before REDWING drifted onto a mud bank on the shore across from where I had started.

On my way to Camp Three at The Dunes, I crossed Baffin Bay with two reefs in the mainsail and two in the mizzen. The boat off my port bow is also fully reefed. The wind-driven waves were beginning to whitecap, and I enjoyed running downwind with the rollers pushing REDWING along.

The wind was still strong, so I had two reefs in, and even so, REDWING made good speed. I sailed with the fleet north along the Land Cut and crossed the 4-mile-wide entrance to Baffin Bay.

Some 10 miles after leaving Baffin Bay, I turned to the northeast, got off the ICW, and headed for Camp Three at The Dunes. About 2 miles later my centerboard repair failed, and the board deployed itself. I could see the white sand of The Dunes, but I knew I couldn’t make it to the one camp I was most looking forward to. Now that REDWING was drawing close to 4′ I had to re-route. Luckily, my nephew, Brent, a Navy pilot stationed in Corpus Christi, has a home with dock access. I called my wife, who contacted my Corpus Christi family, and a friend from Wichita sent me a Google Map directing me to Brent’s dock. As I was motoring to the dock, I went by the Corpus Christi Yacht Club and recognized several Texas 200 boats tied up alongside for the evening.

This is a picture of the inside of REDWING as a freeze-dried dinner is being made. Everything stows away neatly for traveling. The centerboard trunk is incorporated as the front of the counter. To get to the offset centerboard, I had to remove screws securing the trunk’s cap.

Brent and his friend, Joey, met me at the dock, and we immediately went to work. Brent was dressed to swim and dove under the boat. He pushed the centerboard up while Joey and I wrapped a rope under it and secured it in its raised position. I opened the top of the centerboard trunk and could see the attachment bracket had pulled out completely.

I needed another way to attach the lift rope to the centerboard. I cut a 1″ hole in the trunk so I could access the board from the side and drilled a 1⁄2″ hole through it where I would put a shackle to which I could tie the lift rope. I wasn’t keen about drilling a hole in the trunk, but there was no other way.

It was getting late, so Brent took me home with him to spend the night. Taking a shower and sleeping in the air-conditioned house was a welcome break.

The following morning, Brent and I drove to a hardware store and picked up the smallest shackle I thought might work, along with some quick-set epoxy filler. The shackle turned out to be too wide for the trunk, so I made a loop with a piece of rope I had onboard. I used a glob of the epoxy to seal the hole in the trunk, cleaned up my mess, said goodbye to Brent’s family, and took off to cover the 25 miles to Camp Four, Quarantine Shore.

I was growing tired of the water trickling into the cabin. Squeezing out sponges every hour was a hassle and the leak was amounting to about a bucket and a half of water each day.

The wind, still out of the southwest, had moderated, and REDWING, under full sail, flew along wing-on-wing. From Corpus Christi, I headed northeast across the 15-mile width of Corpus Christi Bay.

While REDWING was safely anchored and resting peacefully at Quarantine Shore, I didn’t like how the mizzen sail was flopped into the cockpit. My plan is to have a bimini and a topping lift working for next year. There isn’t much point in having a big cockpit if I can’t enjoy it while at anchor.

I followed the chart, keeping track of my compass bearing to Stingray Hole, a 3⁄4-mile gap between the last of three islands that separated me from the channel, and swerved north through the pass and then east on the channel to Port Aransas where six ferries carrying trucks loaded with construction equipment were crossing the channel at surprising speed. I needed to watch them carefully. At the dock, they unloaded quickly and crossed back for the next load. There seemed to be no pattern to their timing, and I fired up the outboard motor so I could stay well out of their way. Barge traffic was also heavy here, and I had to keep my eyes open.

I was watching the sunset from REDWING’s cockpit when Eric Dahlkamp, aboard SQUIRT with her main still up, approached Quarantine Shore. His 13′ trimaran was once a Snark, an 11′ lateen-rigged monohull sailboat made of expanded polystyrene in the ’70s. Eric added foam and fiberglass to raise the hull sides, extend the bow, and add a swallowtail stern. In the transition to trimaran, SQUIRT also got a set of amas and akas.

Beyond Port Aransas my route swung to the north, out of the main channels, to Lydia Ann Channel, which runs along the south end of San Jose Island and opens on Aransas Bay. The fleet was spread out both ahead of and behind me at the approach to Quarantine Shore, and I was enjoying watching everyone sail when REDWING gently slowed to a stop. Laughing that I’d managed to find a ridge of mud just as I’d entered this broad bay, I hopped out, pushed off, and continued.

I sailed northwest to Quarantine Shore and coasted neatly into the shell-beach anchorage under sail. Doug Geis met me and showed me how a pro anchors, with the bow facing away from shore, held off by the main anchor, while the stern anchor was carried onto land and secured. I was appreciative of that—it was part of a great confidence-building day. I spent a pleasant evening with people circled around fires sharing food, drink, and stories.

Camp Four on Quarantine Shore was a long stretch of clean beach running northwest–southeast. There was plenty of room for the dozens of boats that spent the night.

I made a leisurely start to the morning, enjoying a mug of coffee when, around 7 a.m.,  I realized the fleet was busy packing up and heading north. The wind was light, and all of the boats were under full sail. The pinkish morning light spread across the land and water, as puffy blue-gray clouds floated above the sails.

On the morning of Day Five the fleet was up early and heading north in a light wind along Aransas Bay. I was sipping coffee in my cockpit when I took this picture, realizing I needed to get moving since it was going to be a challenge to get to Camp Five at Army Hole, some 50 miles away.

My plan for the day was to sail the ICW to Rattlesnake Island, head to Panther Reef Cut, then go to South Pass, and arrive at Camp Five, Army Hole. The route took the fleet from Quarantine Shore, across Aransas Bay, and through the Deadman Reef Cut, heading northeast into the gentle dogleg of an 8-mile ICW channel between a slender chain of a half-dozen islands. At Bludworth Island, the first in the chain, the trimaran MALABARKA had pulled off to the side, and I could see Fred working on what looked to be his centerboard. In his Sea Pearl, Doug had pulled ashore to help, and I stopped, too. Fred reported that the oyster shells from Quarantine Shore had jammed his centerboard slot, preventing the board from lowering. Within 40 minutes of accepting our help, Fred had his keel moving freely again. We pushed MALABARKA off and he was on his way.

Doug and I agreed we didn’t have enough daylight left to sail nearly 30 miles into the wind to get to Army Hole, and decided to continue along the ICW to Military Cut and find anchorage there.

As the day went on, I caught up with Doug—stuck in the mud. I stopped and helped to push him out.

On Day Five, Doug Geis, here at the helm of his Sea Pearl, LA BELLE, sailed with me. I appreciated his frequent mentoring over the course of the Texas 200. His Sea Pearl is well decked out for this type of adventure. Here we had finished crossing the entrance of San Antonio Bay and carried on to where the ICW narrows on its approach to Port O’Connor.

We entered San Antonio Bay. By now the wind had strengthened. We sailed across the bay on a beam reach with the rollers lifting REDWING up and then dropping her bow into a trough with a jolt. I steered her off the wind to ride the rollers longer and slide down them, making for a smoother ride. REDWING rocked back and forth, but it was a fast, exhilarating sail.

I followed a long line of boats across the bay, all of them hanging in there and seemingly doing well.

Since MALABARKA was the fastest boat in our group, Fred was tasked with finding a safe anchorage. He texted back that he had gotten stuck on a shoal until a powerboat happened by and pulled him free. He had made it to Military Cut.

Doug and I suspected that getting to Military Cut wasn’t going to be possible, so we began looking for a camp along the ICW.  If a spot had potential, we would slow and take a better look.

LA BELLE, seen here, and REDWING finally found a safe anchorage on the ICW about 5 miles southeast of Port O’Connor on Day Five. The Sea Pearl’s sails wrap around the masts, which keeps them out of the cockpit. Between the masts, a big barge is visible, heading our way along the ICW.

I thought I had found a place with enough room for the two of us to anchor a safe distance from barge traffic for the night. But as I was checking it out, it seemed like the mud rose up from the bottom and grabbed REDWING. I lowered the sails, got out of the boat, and rocked her up and down, pushing as hard as I could while standing in the knee-deep muck. After 20 minutes she was free.

We were fast running out of daylight. Doug and I dropped our sails, started our motors, and headed farther down the ICW. At dusk we found a spot that would work 3 miles short of Military Cut. A few hours after dark, I noticed another sailboat lit up like a Christmas tree coming down the ICW, sweeping the shore with a flashlight. I suspected they were looking for an anchorage, so I aimed my flashlight on my sails and my boat. The black, non-motorized, fiberglass sloop slid ashore next to REDWING. The exhausted crew, a father and two teenage sons, thanked me and quickly retired for the night.

The first thing I did in the morning was clean the boat. REDWING was filthy from the mud I’d brought onboard from freeing her the day before, and as always, there was water on the cabin floor. LA BELLE and the sloop—I never saw its name—both left, and 15 minutes later I, too, was on my way.

Brittanie Weston

On Day Six, REDWING, along with two other boats, had turned the corner at Port O’Connor and headed northwest to a Texas barbecue at the Magnolia Beach finish.

The day’s route would take me northeast down the ICW to Port O’Connor, where I would turn to the northwest along the Matagorda Bay shore for Magnolia Beach, where my truck and trailer were parked. I pushed off, entered the ICW under full sail, and had traveled a mile when the wind changed to the northeast, heading me off my course. I really wanted to sail as much as I could, but didn’t relish tacking back and forth across the channel and dodging barges, so I dropped the sails and started the outboard.

I finished the Texas 200 next to John and Jennifer Harnett on their boat, WATER ON THE MOON. Both of our boats are named after songs. My original intention was not to singlehand the event, but my crew had a family situation arise a few days before we were due to leave so I decided to go it alone. I am glad I did. My sailing skills improved immensely, I felt good assisting others, and boosted my confidence in my own ability to handle adversity.

Within minutes I had caught up to a couple of sailboats working hard to windward on their final leg to Magnolia Beach. One of them was LA BELLE. The wind was light, so Doug and I motored together toward Magnolia Beach. After an hour, the wind filled back in and we both sailed to the finish of the Texas 200. A hundred yards out we stopped, organized our boats, and then motored in. After I hauled REDWING out at the ramp, I remembered to release the centerboard and let it rest on the trailer for her journey home.

David Zumwalt is a retired school administrator who lives in Wichita, Kansas. He sails a Catalina 25 on Cheney Reservoir and is a member of the Ninnescah Sailing Association. The first sailboat he built was a Puddleduck. After attending the 2011 Puddleduck championships and meeting several boat designers he decided to build a Belhaven 19, which he completed eight years later.  

If you have an interesting story to tell about your adventures with a small boat, please email us a brief outline and a few photos.

Khimera

I’m kind of a PFD snob. Since my early paddling days in the 1970s when we had to make wearable PFDs from kits or buy the only one then manufactured, which was made by Extrasport, I’ve tried almost everything on the market.

When I was scuba diving for the Navy in the late ’60s and early ’70s, I wore an inflatable that was manually or CO2-cartridge activated. Such flotation devices led to today’s divers’ buoyancy compensators and Type-V PFDs. These inflatable PFDs, made as suspenders or a belt with a pouch, are very compact, but once they are inflated you can neither swim effectively nor do anything else useful to help yourself if you’ve gone overboard; all you can do is wait for help. For those of us who sail and row, they can also get caught on gear such as rigging or oar handles. I wear a waist-band inflatable for summer rowing and sailing in benign conditions but, while it doesn’t catch on stuff, I’m reluctant to inflate it because it would get in the way of any self-rescue procedures. However, without some buoyancy, if capsized, I would need to devote some of my recovery efforts to keeping myself afloat.

The early life vests that used foam for flotation were the precursors to Type III PFDs, which are designed to keep you afloat any time you’re in the water and don’t make it impractical to swim. They can also have lots of pockets in which to carry gear. But, the bulk of the foam can interfere with your ability to climb back aboard after a capsize, or reach well aft at the catch of a rowing stroke, and they can crowd the oar handles at the finish of the stroke. The pockets, empty or full, can further add to the interference at the end of the stroke.

Photographs by Marti Wolfe

The Khimera has a large front bladder and a smaller one in the back above the shoulder blades. Both can be inflated either by triggering the CO2 cartridge with the pull-handle, lower right, or orally via a tube tucked into the front of the PFD at the neck opening. The black cap of the inflation tube is visible here at the base of the shoulder strap.

Enter Mustang Survival’s Khimera, a hybrid foam/inflatable Type V PFD. I first saw one in 2019 at a spring fishing trade show as part of a National Marine Fisheries Service effort to reduce fishing deaths by drowning. I was impressed by it and bought one.

The Khimera’s foam provides 7.5 lbs of buoyancy and its air bladders add 13 lbs when inflated, for a total of 20.5 lbs. (The minimum buoyancy for a foam Type III is 15.5 lbs.) Like other inflatables, the Khimera has a Type V classification, which means that you have to wear it, not just have it on board, for it to meet U.S. Coast Guard requirements. Mustang also classifies the Khimera as a Level 70 Buoyancy Aid, which provides a minimum buoyancy of 70 Newtons (15.7 lbs) and notes: “Level 70 buoyancy aids are intended for use by those who have a means of rescue close at hand, or who are near to bank or shore. These devices have minimal bulk, but cannot be expected to keep the user safe for a long period of time in disturbed water.”

The front of the over-the-head-entry Khimera is smooth with only one small pocket, so there is nothing likely to catch on gear. The pocket is meant to carry an extra CO2 cylinder; I use it to carry ID and a Greatland Laser rescue flare as well. It would fit a modest-sized waterproof cell phone, but could be a tight squeeze for a cell phone in a waterproof pouch. I have a big storm whistle lashed to a shoulder strap, and I clip a VHF to the other shoulder strap or the front of the jacket with a lanyard to the shoulder strap, with enough slack to easily operate the radio. When I want to carry a personal EPIRB I fasten it to one of the lash tabs on the shoulder straps.

One of my Greenland-style paddling friends tried my Khimera. He has mastered the full repertoire of Greenland rolls, which require extraordinary flexibility and a range of motion unrestricted by a bulky foam PFD. He bought a Khimera; the only PFD that would give him more mobility would be a waist-belt inflatable PFD.

The Khimera comes in only one size, but has adjustable shoulder and side straps. The front pocket is slim, so unlikely to catch on gear or oar handles, but also large enough to hold a spare cartridge, flare, or compact waterproof cell phone.

After seeing how well the Khimera worked for me, my rowing partner just picked one up because it provides more warmth than a belt inflatable in cool weather, and doesn’t snag oar handles. It is also far better suited to leaning forward and back during a long rowing stroke than paddling-oriented full-foam PFDs. My jacket is red, which is okay for visibility, and has red retroreflective lash tabs. My partner’s is a nice robin’s egg blue—which has very good visibility at sea—and green retroreflective lash tabs.

Last fall, on a chilly late October Maine day, I had an unplanned opportunity to test the Khimera. I was paddling my small wood/canvas canoe, trying fancy freestyle turning strokes, made a mistake, and over I went. It was not a great day for a dip. I needed to get out fast and get the water out of the canoe. I shook much of the water out of the boat, then grabbed the painter and swam the short distance to an island where I emptied the rest. The Khimera’s foam provided me with enough flotation that I could right, bail, and tow without having to tread water to stay afloat—it wasn’t necessary to inflate the air bladders. In retrospect, the 8 lbs of buoyancy floated me about the same as a full-thickness wet suit, enough to keep me safely afloat. I didn’t even think about needing the additional buoyancy of the inflatable bladders. I had a mile or so of pretty chilly paddling home. While I was wearing wool, I wasn’t dressed for immersion. The Khimera kept my core warm and, indeed, has done so when rowing throughout four Maine winters.

The jacket is “one size fits all” with side and shoulder adjustment straps. The straps have clever elastic loops that allow you to roll up excess length and tuck it neatly away. After nearly four years, the elastic has lost its springiness, and I’ll soon be taking a few stitches with the sail needle to tighten them.

The Khimera is inflated either by a CO2 device triggered by a pull handle on the right side or an oral inflation tube tucked behind the PFD’s front. The large bladder in the front is connected through the shoulder straps to a smaller one in the back. The larger front bladder favors floating face-up, and the rear bladder raises your back to make it easy to hold your head upright. The bladders are fully contained by the jacket, so they just need to be flattened before the Khimera’s next use. The suspenders- and belt-style PFDs are more persnickety and need to be carefully refolded. With both my Khimera and waistband inflatable I trigger the CO2 mechanism at the beginning of the season and rearm it with a new cartridge.

The Khimera would be warmer than the belt or suspenders-style inflatable on hot summers, but with about half the amount of foam of a typical Type III PFD, it would be cooler than those more commonly used styles. When I’m paddling rocky whitewater or playing near rocks in kayaks I don a conventional Type III for its padding, pockets, and additional foam flotation. But for lake paddling and inshore rowing and sailing, the Khimera gets the call.

Ben Fuller, curator emeritus of the Penobscot Marine Museum in Searsport, Maine, and former curator of Mystic Seaport and Chesapeake Bay Maritime Museum, has been messing about in small boats for a very long time. He is owned by a dozen or more boats ranging from an International Canoe to a faering.

The Mustang Khimera Dual Flotation PFD is available from Mustang Survival, priced $239.99.

Is there a product that might be useful for boatbuilding, cruising, or shore-side camping that you’d like us to review? Please email your suggestions.

FlexStep Pro

For the best part of my life, I’ve enjoyed every aspect of small boats, with one exception: climbing in and out of them while they’re on their trailers, whether at home when working on them, or at the ramp loading gear in and out or raising or lowering a sailing rig. I’ve been able to board three of my trailered boats by getting a tenuous footing on the trailer frame and then smearing my frontside over the gunwale, but it’s a painful process. Clambering out of the boat can be even worse because I can’t see where I’m putting my foot; I lost my toehold once and spilled onto the concrete driveway. I’ve used a milk crate as a step, but it’s not quite tall enough and can be unsteady on the lawn. I made ladders for two of the boats and, although they work, they are heavy, bulky, and take up a lot of room in my shop. I don’t take them to the launch ramp.

Photographs by the author

The FlexStep is designed to fasten to trailer rails. Here it is mounted on a rectangular tube tongue facing downwards. While the step, mounted to pivot downward, makes it easier to climb up onto the tongue, this wasn’t where I most needed the leg-up. The arrangement did, however, show the intended installation.

When I happened upon the FlexStep Pro while browsing the web, it looked like just the thing I needed. It’s an adjustable step with an aluminum mounting bracket that attaches to the trailer frame, so there’s no chance it will roll out from under me like a milk crate might if I put my weight too close to its edge. The receiver that supports the step can extend from 17″ to 21″ in four increments and is locked with a stainless-steel quick-release pin with a spring-loaded ball lock. The arm rotates 90 degrees in the bracket and locks in one of four positions.

An aluminum backing plate and four stainless-steel bolts with nylon lock nuts anchor the FlexStep to the trailer frame. The installation hardware includes two pieces of vinyl, which keep the top bolts from damaging the finish on the trailer. (The finish here didn’t require that measure of care.)

The 5-1⁄4″ × 6-3⁄8″ backing plate can accommodate trailer beams up to 5″ deep, and the 4-1⁄4″ × 3⁄8″ bolts can span a beam about 3-1⁄2″ wide.

The manufacturer recommends removing the step from the bracket before going out on the road. Pulling the locking pin frees the step.

The manufacturer recommends removing the receiver (with the step) when towing the trailer and while launching or retrieving the boat at the ramp. It’s easy enough to do and assures the step isn’t lost on the highway or in the way of the boat at the ramp.

Where—and whether or not—the FlexStep can be mounted depends on the clearance between the boat and its trailer. Our Escargot canal boat covers the trailer bed and the beams from the bed to the tongue, so the only place I could mount the step was on the trailer tongue.

This drift-boat trailer was where I needed the step to get aboard my Caledonia Yawl. The bolts and backing plate supplied with the FlexStep couldn’t span the wide rails or place the top of the mounting bracket flush with the trailer deck, so I drilled into the rail and the bracket and joined them with short bolts.

While that could be useful for some boats, it was my Caledonia Yawl that would benefit most from the step. The yawl rests on a flat drift-boat trailer that doesn’t have a box-beam frame. Instead, it has steel channels that support a wooden deck. My only option was to drill four holes in the side of the channel and two new holes in the bracket for a set of four shorter 3⁄8″ bolts that I had on hand. It was easy to drill the two additional holes in the aluminum bracket. The four holes in the trailer’s steel took more time and pressure. After the bracket was installed, the receiver was quick to install with the larger locking pin.

The step’s distance from the trailer and boat can be adjusted by sliding it in and out of the bracket and pinning it in the desired position. Once fixed in place, the step felt solid and strong and showed no sign of tipping or twisting when all the weight was shifted to one side.

Boarding the Caledonia is now a breeze. The step is at just the right height for me to climb over the gunwale without having to put my weight on it. The rubber covers on the step provide a non-slip surface, and while there is slight play in the receiver, the step is solid and secure even with all my weight on one side.

 

The step can be retracted and pivoted to the vertical position, keeping it handy but out of the way when this boat is in storage at home.

The FlexStep Pro will change the way I ready the Caledonia for sailing. Instead of dropping the rig and gear into the boat and rushing to organize it at the dock while other boats are waiting, I’ll be happy to rig it in the parking lot where I can take my time and comfortably get in and out of the boat as many times as it takes.

Christopher Cunningham is the editor of Small Boats.

The FlexStep Pro is made by Megaware and sold direct from the manufacturer for $159.95. There are several marine hardware stores and online retailers that offer the FlexStep at lower prices.

Is there a product that might be useful for boatbuilding, cruising, or shore-side camping that you’d like us to review? Please email your suggestions.

 

 

 

 

TAMO

In Cleveland, Ohio, Henry Billingsley was thinking about retirement. He had been practicing law for decades and was ready for the next chapter in his life. While he had no great plan set out, he knew that he wanted rowing to be part of his future. In the 1970s, he had trained as a sweep oarsman at Columbia University, rowing starboard. He continued the sport long after graduating, but in the late 1980s took a class at the Craftsbury Sculling School in Vermont and became a devotee of single sculling. Now, as he approached his seventies, he knew it was time to replace his flatwater racing shell with a more seaworthy and forgiving craft.

He had always wanted to build and row a Whitehall, attracted to the boat’s history as well as its proven performance and classic lines. But there were two problems. First, traditional Whitehalls had fixed thwarts, and Henry wanted a sliding seat. “The fixed thwart,” he says, “deprives the rower of the use of the largest and most powerful muscles in the body—the legs.”

The second, and potentially greater, problem was that Henry knew “nothing about building boats.” He was, he thought, a “reasonably competent shoreside carpenter,” but he would have to leave the world of “square and straight” and enter the world of “beveled and curved.”

Photographs by Ed Neal

The first 18 western red cedar strips were installed working up from the sheer. Then the strips were laid working down from the keel, and the shutter strip (which closed up the hull) was installed along the chine.

Not to be daunted, he continued to research the Whitehall type and came across J.D. Brown’s 1985 book, Rip, Strip, and Row, in which he found plans for John Harstock’s modern version of the classic skiff: the Cosine Wherry, a 14′2″ × 4′4″ strip-planked rowboat for one or two rowers. Here, says Henry, was a “lightweight, beautiful boat complete with excellent guidance on how to build the hull. But there was nothing about creating a sliding-seat system.” There were suggestions for sliding-seat mechanisms that could be dropped into the hull, but to Henry’s eye they spoiled the boat’s clean lines and took up too much space; he wanted to build his sliding-seat mechanism into the hull from the outset. It was time for some help. It was time to talk to Ed Neal.

Ed Neal learned to build boats at the Cleveland Public Library. In the late 1990s he had returned from a canoeing trip in Canada wanting to build an outrigger to make his canoe safer when paddling on remote lakes. The library had an extensive collection of boatbuilding books and, he says, “I fell down the boatbuilding hole and have yet to emerge.” It was no surprise: Ed had been an avid woodworker since his Boy Scout days and had been reading WoodenBoat since the 1970s. He continued paddling, but when WoodenBoat published a three-part construction guide by John Brooks on how to build his 12′ Ellen design, Ed was smitten. He followed the step-by-step guide and built a 2′ model. “I learned so much from that, and gained the confidence to build the full-sized version,” he says. Twenty-five years later, “I still use techniques picked up from those articles.”

Indeed, for Ed the 2′ Ellen model was the modest beginning of a now decades-long passion. Since 2000 he has built two kayaks and an 18’ Firefly performance rowing boat, and has led classes in building the Mike O’Brien-designed 15′ Six-Hour Canoe and two Ross Lillistone–designed 15′ Fleets.

Once the hull was removed from the molds and turned right-side up, cleanup work could begin on the interior: first the excess glue was scraped away, then the sanding would follow.

Ed was leading the Cleveland Amateur Boating and Boatbuilders Society (CABBS) Boatbuilding Basics Workshop in 2019 when he met Henry. The two had briefly crossed paths when volunteering at a Cleveland public school, but otherwise did not know each other until Henry asked Ed about his Cosine Wherry sliding-seat issues and they agreed to meet. As the conversation progressed, Ed recalls, they discovered they had both attended college in New York City and had both covered their living expenses by driving a cab. They bonded immediately. Ed agreed to help Henry with his project.

The arrangement worked well. “I could not have hoped for a better teacher, guide, and friend than Ed,” says Henry. “Calm, confident, precise, and infinitely patient, he walked me through the process.” Together, they laid out the molds and constructed the strongback. The transom was fashioned in solid sapele, and the hull was strip-planked in bead-and-cove western red cedar, which they milled and scarfed from 2×4s. The fully planked hull was sheathed inside and out with epoxy-saturated fiberglass. Sapele gunwales were fitted to support the heavy cast-bronze outriggers. Throughout, Henry and Ed worked in partnership. Henry put his woodworking skills to good use and Ed acted as teacher, explaining boatbuilding techniques and then putting the tools in Henry’s hands so he could do the work.

To support the rails for the sliding seat, and to add flotation, Henry Billingsley (seen here) and Ed Neal framed-in plywood storage “tanks” on either side, with watertight hatches. The tanks were coated with epoxy and then painted the same color as the rest of the interior so that, visually, they almost disappeared.

Aside from an unexpected hiatus of several months when Henry broke his arm, the project went smoothly, but when it came time to construct the sliding-seat rig, both men were challenged. They spent hours examining sculls—measuring seat height, oarlock height and span, and foot stretcher distance and angle. They decided to make the seat adjustable to accommodate scullers of different heights.

Both had sliding-seat frames that they scrutinized. Ed had a Piantedosi frame and Henry had an Oarmaster frame set to a position he liked in his own rowing shell. They pulled it out, temporarily installed it in the Cosine Wherry, and took it down to the lake. “Henry rowed,” says Ed, “and we moved the frame to different locations along the keel to find the best balance point for solo rowing and the appropriate place for the oarlocks.”

Tom Baugher

Ed and Henry outside the workspace where they built TAMO.

They designed a pair of tanks with parallel inboard sides that would support the sliding-seat rails, but identifying the right materials for the wheels and rails involved much trial and error. “We progressed very slowly,” said Ed, “like blind men feeling our way along a wall.” When they got stuck searching for a solution, Ed would, says Henry, “calmly suggest that we just sleep on it. Being old guys, we would routinely wake up in the middle of the night and then suddenly get a flash of insight. Some of our best problem-solving came that way, and it gave rise to the genesis of the boat’s name: TAMO, for Three A.M. Oracle.”

At last, there came a breakthrough. Fellow CABBS member, Jim Batteiger, a retired master elevator mechanic, passed along some salvaged, 2″-diameter stainless-steel wheels with grooved circumferences that perfectly fit over 1⁄2″ heavy-duty copper pipe. “We designed a seat carriage around those wheels,” says Ed, “and used the pipe to create long rails that could accommodate either solo rowing or rowing with a passenger.”

On launching day, Henry gets to use the sliding seat for the first time.

As construction neared completion Ed went to visit his son and family in Seattle. One morning, shortly after his return, he told Henry about the Seventy48, a 70-mile race on Puget Sound. Henry recalled that Ed seemed to be “just sharing a tidbit of interesting news. It was masterful. He dangled this shiny little nugget in front of me, confident that I’d strike at it. And I did. We were off. We would finish TAMO, train like demons, build a trailer crate to transport her across country to Washington, and enlist our wives to play along.” They had six months to prepare.

With the help of Tom Baugher, a fellow member of CABBS, Ed and Henry designed and built a trailer for TAMO, complete with a wooden crate to protect her, and a dolly for single-handed launching and recovery. The crate protected TAMO from the elements on her cross-country road trip and the dolly meant that Henry could launch and recover her while training solo during the weeks leading up to the race.

The Seventy48 was first staged in 2018 and the now-annual challenge, sponsored by the Northwest Maritime Center in Port Townsend, is to cover the 70 miles from downtown Tacoma to Port Townsend in under 48 hours in a human-powered boat. Competitors can travel solo or in a team, but all must travel overnight and unsupported, along Puget Sound, a large body of water with a 7–11′ tidal range.

Henry had rowed thousands of miles but never a distance of this length in one shot, and never at night. Getting race-ready meant long, grueling sessions on the ergometer to harden hands, seat, and muscles. For Ed, the challenge was even greater. At the age of 18 he had rowed with a friend 40 miles across Lake Erie to Canada, but otherwise his boating experience was almost exclusively paddling canoes and kayaks. He was new to feathering oars and rowing with overlapping handles. He, too, put in many hours on the ergometer, and as the weather improved into spring, he got out on the lake as often as he could in the Firefly, putting in the miles until the new techniques came naturally.

Henry went out to Washington three weeks before the race to familiarize himself with the area. Colvos Passage in Puget Sound was an ideal training ground.

With help from CABBS member Tom Baugher, Ed and Henry had designed and built a trailer for TAMO, complete with a wooden crate to protect her and a dolly for solo launching. Several weeks before the race, Henry and his wife, Karen, hitched up the custom trailer crate and towed TAMO the 2,400 miles to Gig Harbor. In the weeks before Ed joined him, Henry familiarized himself with the boat and the waters of Puget Sound. “Although the wind, tide, and currents could be a little tricky, the scenery and the bald eagles were extraordinary. Sea lions surfaced frequently almost alongside and stared at me as I sculled over the kelp beds. I was told that orcas also frequented Colvos Passage, where I was training, but I was glad none ever showed up.”

Before the race Henry rowed a daily practice session out of Olalla Point on the west side of Puget Sound. He gave mixed reviews on the usefulness of a mirror he had borrowed from his cycling gear.

A week before the race, Ed arrived and the two friends rowed TAMO together on three or four occasions, but time was up. They had made it this far: they had built a boat, designed and built a sliding seat, trained hard, and on Friday, June 10, 2022, they rowed out to the Seventy48 start line in Tacoma for the 7 p.m. start. The 116 competing teams included just six from east of the Rockies, and of those six two were from Cleveland—Henry and Ed had been joined by Paul Herrgesell, a fellow member of CABBS who had been inspired by their enthusiasm and signed up.

Fellow Cleveland Amateur Boating and Boatbuilders Society member, Paul Herrgesell, built an Angus Expedition to enter the race. Henry, Ed, and Paul practiced once together at Olalla Point. Paul finished the 70-mile race and placed 30th overall. He boarded his boat in Tacoma, rowed by GPS waypoints, and didn’t get back out of the boat until he landed at Port Townsend—his legs were a bit wobbly.

In the end Henry and Ed would be defeated by the weather. They rowed through the night, taking turns of 60 to 90 minutes each at the oars, rowing into shore for each changeover. By dawn on the Saturday morning, they were, says Henry, “surprisingly alert and buoyant.” They rowed on through the day, but as they rounded Point No Point and turned west for Oak Bay, the wind was building. Twenty-three hours and 53 miles into the race, the “high winds and whitecaps stopped our forward progress. We headed downwind to a narrow, rocky beach to take stock. We huddled on the narrow strip of beach at the bottom of a cliff and realized that with the rising tide, in just a few hours our beach would be underwater and then nightfall would come.”

About 10 miles from the end of the race, Ed and Henry were weather-bound and pondered what to do. In the far distance is the Port Townsend Ship Canal. Above the beach, out of shot, the cliff lifted the direct blast of the wind. In the foreground, the water looks amazingly benign, but in the distance can be seen the building waves and field of whitecaps. This is where they decided to call the race and head downwind for Port Ludlow, some 3 miles away.

They were faced with a difficult choice: either struggle against the wind and waves to the checkpoint at the Port Townsend Ship Canal 9 miles away, or abandon the race, turn southwest, and run 3 miles downwind back to Port Ludlow. They chose safety over competition. By the time they left the beach, the wind was so strong they had difficulty even climbing aboard, but as they finally made their way out, they gained confidence that TAMO could slip through the waves. Progress was slow. Henry remembers that “TAMO rolled and pitched so hard it was impossible to pull the oars. But she bobbed over the whitecaps like a cork and shipped very little water.”

As they left the beach, neither Henry nor Ed was sure that they were making the right decision, but rowing the next 3 miles would take them 2-1⁄2 hours. “It was,” says Henry, “the longest 3-mile row of my life and as we pulled into Port Ludlow Marina, we were disappointed but relieved. We’d made the right call.” And, he says, “It was all good, very good. We met some fabulous people, saw some truly beautiful country, and had a hell of an experience. I wouldn’t have missed the opportunity to do all that with Ed for the world.”

TAMO lies quiet and clean alongside at the Port Ludlow Marina. Saddened to have quit the race, Ed nevertheless pauses to thank the boat for a safe crossing.

Since returning from Washington, Henry has continued to row TAMO on his home waters of Lake Erie and the Cuyahoga River, and in the summer of 2023, TAMO will be part of an exhibit at the National Museum of the Great Lakes in Toledo. He hopes to join Ed in future boatbuilding projects helping, he says, by doing “mainly what Ed tells me to do.”

Jenny Bennett is the managing editor of Small Boats.

Do you have a boat with an interesting story? Please email us. We’d like to hear about it and share it with other Small Boats Magazine readers.

Risk-Taker?

Not long after I returned home to Seattle from my sneakbox adventure, one of the local television stations invited me to be a guest on their morning show to share my story and a few slides. There were two other guests on with me: a top-notch stunt and acrobatic pilot (a woman whose name escapes me now, we’ll call her Ann) and Susan Butcher, a dog-sled musher who had competed seven times in the grueling 938-mile Iditarod sled-dog race in Alaska. Shortly after the red ON AIR sign lit up, I was surprised when the hosts of the program introduced the three of us as “Risk-Takers,” and from the knit brows I saw on Ann and Susan, I think that they were also taken aback. We each took a turn to talk and share a slide presentation; I showed several of the images that have been featured in the three installments of my sneakbox story here in Small Boats. When we were asked about the risks we took, all of us agreed that the risks in our avocations were less than those we had taken in driving to the TV studio. Susan and Ann had put years into training and studying for the pursuits they chose and everything they did was tempered by experience.

Building on what I had picked up as a kid while backpacking and sailing with my father, I took an interest in wilderness skills and solo adventuring at the age of 17. What drove me was a nagging realization that I didn’t know how I’d fare on my own, dealing not only with the practical challenges, but also with the psychological ones. On my bicycle tour from Seattle to Los Angeles and back, I met a businessman on a sidewalk in downtown Portland, Oregon, who took an interest in my panier-burdened road bike. He asked where I slept at night, and I replied with just about anywhere I found to make camp at the end of the day. When I answered “Yes” to his question “Alone?” he said, “I think I’d go crazy on the first night.”

That was a fear that I had to a much lesser degree on the first night of my first backpacking solo, when I listened to things outside the tent that went bump in the night as if they were escaped convicts instead of nocturnal critters just out for a bite to eat. I didn’t want to carry fears like that: Would I panic in an emergency? Would I fail to solve problems quickly? Would I give up in the face of adversity? Would I not enjoy my own company? Whatever fears I might discover in myself, I thought I could grow out of them through solo adventuring in the wilderness.

When I was 18, I did my first solo backpack outing, in the summer and on a trail I’d hiked twice with my father, and in the years that followed I pushed the envelope until I was ready to undertake a solo winter hike on snowshoes with a heavy pack and to make an igloo for my shelter. When I switched to boating, I started with a summer cruise from familiar local waters and increased the distance and challenges for cruises that followed, culminating with my winter sneakbox cruise.

The morning after my night row, the sneakbox was still sheathed in ice from the spray that came over the bow. A dusting of frost (coating the oar leather, bottom left) settled on everything overnight.

During that 2,400-mile cruise, there was only one real risk that I took. It was on the day I left Memphis and chose to pass by several good camping spots while I still had daylight, and try to rendezvous with a friend who had offered me a hot meal and place to spend the night. I risked my wellbeing by attempting something that had nothing to do with the circumstances on the river. As a result, I got myself into real trouble trying to find a place to come ashore on a swift river, in the dark, in subfreezing temperatures that put me on the brink of hypothermia. You can read about it in the second installment of the cruise.

To help myself survive that night, I drew on an important experience from the year after I graduated from college. While visiting my sweetheart in Cambridge, Massachusetts, I strolled around town on Christmas Eve while waiting for her to get out of work. The streets were slushy, I was not wearing waterproof boots to keep my feet dry and warm, and I hadn’t had much to eat that day. Close to the time she got off work I waited outside the door leaning up against a cold brick wall. By the time she met me, I was slipping into hypothermia. The bad decisions I’d made had left me unnecessarily exposed to the cold. My arms and legs were numb, and the deep chill was closing in on my core. As we walked down the stairs to the subway station for the ride home, I doubled over with an abdominal spasm and started to sob. Fortunately, we were already in the comparatively warm air in the underground station and I started to recover.

That cold night on the Mississippi, I recognized what was happening to me and had a good idea of how long I would be able to function well enough to get off the river and get warm again. And I knew that I couldn’t afford to let my mind start slipping away, so I kept myself intensely focused on what I needed to do and fear never entered my mind.

Aside from that one lapse of good judgment during the 2-1⁄2 months I was cruising LUNA, I kept myself not just safe but happy by not taking risks. To be sure, there were plenty of times that I endured discomfort, especially on the relentlessly cold days and nights on the Ohio River; it was not risk-taking but rather an anticipated and essential part of the experience; I loved working my way out of it. Being warm, dry, clean, and well fed can now easily go without notice at home, but during my small-boat cruise in winter they were achievements that could even make me giddy with the pleasure of them. And all the people who took pity on me in my tiny boat and said I should have a motor missed how free and how powerful I felt rowing LUNA. They might be able to cover a distance in an hour that would take me from dawn to dusk, but I would see, hear, and experience much more and be all the richer, happier, and prouder for it.

When I was captivated in my late 20s by Nathaniel Bishop’s Four Months in a Sneak-Box, the real risk would have been to let the dreams it inspired pass and to enter adulthood without following in his wake, finding the answers to questions I had about myself, and discovering and enjoying what I was capable of as a human being.

 

ISLAND BIRD

In 1988, when Cindy, my wife then, and I were living in Silver Spring, Maryland, we took the lapstrake canoe I’d built to St. Michaels to paddle the Miles River, an estuarine tributary of Chesapeake Bay. I don’t recall now why we made the 80-mile drive there—we had other places to paddle much closer to home—but the sky was clear, and the water was lightly ruffled; it was a good day to be on the water. I like to go boating with a bit of formal style, so we flew the American flag at the stern of the canoe and my family’s house flag on a short staff at the bow. The design for the flag had been passed down from my third great-grandfather Charles Cunningham and his brother, Andrew. It was the private signal flown from the highest points on their fleet of ships, barks, and brigs carrying goods across the Atlantic. In the days before radio, the signals were the first things to rise above the horizon to let merchants know whose vessel would soon be in the harbor.

Christopher Cunningham collection

There may have been something about my family’s house flag and my canoe that resonated with Judge North’s own 19th-century roots. His great-grandfather, who built ISLAND BIRD, was born in 1850, about the time the house flag was first flown by my third great-grandfather, and the lapstrake canoe I built was based on a design published by W. P. Stephens in 1889, in the same decade North’s great-grandfather was building boats.

Cindy and I paddled along the left bank of the Miles and hadn’t gone far when we rounded a blunt marshy point of land and neared a broad expanse of open land occupied by a lone, white, two-story house. A man in front of it was walking across the lawn toward us. The first thing he said was, “Is that a private signal?” It was the first, and still the only time, that anyone has recognized the flag for what it is. This was Judge John C. North, born into a family as steeped in boats as my own. When he invited us to come ashore, we pulled the canoe among the reeds and sat for a while on lawn chairs with Judge North and his wife, Ethel.

Photograph by Thomas H. Sewall, Collection of the Chesapeake Bay Maritime Museum

This photograph of ISLAND BIRD from the Chesapeake Bay Maritime Museum was taken by Thomas H. Sewell of St. Michaels in 1906 when the boat was already 24 years old. The pennant flying from the foremast, which says CHAMPION, was awarded to the season’s most successful racer.

The conversation turned to the boats he owned, which included two Chesapeake log canoes: 27′4″ ISLAND BIRD built in 1882 and 32′7″ ISLAND BLOSSOM built 1892. Both were built by his great-grandfather, William Sidney Covington, on Tilghman Island, just 8 miles to the southwest of the North home.

The Judge, as he is known locally, invited me to return to St. Michaels on a subsequent weekend to sail aboard ISLAND BIRD, the oldest and smallest of the roughly two dozen original log canoes that were still racing. Her hull was built of three logs joined side-by-side, then carved to shape; the sides are extended by means of fractional frames, patches, and carvel planks. North, along with his great-uncle, acquired ISLAND BIRD from a previous owner and restored her in 1949. He has been racing her every year ever since.

Morris Ellison

Morris Ellison, who took the two contemporary photos of ISLAND BIRD here, is a sailmaker, now retired, who made sails for many of the old log canoes. He noted that the curved sprit booms were introduced around 1980 to allow the sails to take their best shapes on both tacks and that the “kite” was at its best working downwind. A log canoe could heel far enough to put the sails in contact with the water, a dangerous situation as the sails couldn’t be eased to spill the wind in a gust.

On race day, the Judge was, of course, ISLAND BIRD’s captain. I was one of four boardmen whose job was to shift hiking boards from side to side during tacks, set one end under the side deck, and scramble out on the other end—which was cantilevered over the water. Prior to the 1980s, the boards would have been hardwood 2 x 12s; very heavy, awkward, and dangerous to fling from one side of a log canoe to the other. Since then, they had been made as hollow box beams. While they were lighter, in the rush of coming about it was easy to bruise knuckles and bark shins.

I don’t remember much about the race and where ISLAND BIRD was in relation to the other boats. She was slender—just 5′6-1⁄2″ in the beam—and very sensitive to the position of the four boardmen so we were in almost constant motion. I was enthralled by ISLAND BIRD. It’s one thing to be in a sailboat going so fast that the water goes by in a green blur streaked white by the bow wave’s froth; it’s quite another to be perched on a plank, sitting fully outside of that boat, trying to come to grips with the notion that the boat I’m sailing on is over there.

Morris Ellison

With her slender hull and absence of a weighted keel, ISLAND BIRD has so little stability that she needs to be tightly secured at the dock to keep her masts from rolling her on her side. Underway, her stability is provided by boardmen on hiking boards. The larger canoes carried the tender for the mainsheet on the outrigger extending from the stern. ISLAND BIRD was too small to carry the extra weight that far aft and the outrigger was unoccupied. It’s very likely that Judge North is at the helm here.

Even though ISLAND BIRD was the smallest boat in the race fleet, she carried—and still does carry—so much sail that it was like sitting in the front row of a movie theater trying to take in the whole screen. The jib’s foot has a full-length club that pushes the tack well past the end of the bowsprit. The large foresail and the smaller mainsail have clubs at the ends of their sprit booms, vertically expanding what would ordinarily be the clew several feet in both directions. The main requires an outrigger on the stern to set the mainsheet block aft of the boom. ISLAND BIRD’s unstayed mainmast is 25′ tall; her foremast is 36′ tall and above it flies a “kite” topsail that looks like it could have been stolen from a Laser but for its silhouette of an osprey with a fish in its talons.

We were moving along at a good clip when we sailed into a sudden lull and ISLAND BIRD snapped upright. The hiking boards dropped suddenly and only three of us were able to scramble into the boat. The fourth boardman was flicked off his perch. The Judge looped the boat around and we picked up our AWOL crewman. As we chased after the fleet, one of the more experienced of the boardmen told me that losing someone off a hiking board almost always results in a capsize. Some of the larger boats, with four hiking boards and eight boardmen, have a better chance of surviving a man-overboard because the weight of one crewmember isn’t as significant as it is aboard ISLAND BIRD. We didn’t place well at the finish of the race, but it was enough of an achievement to have kept ISLAND BIRD on her feet.

I never would have imagined that the most exciting sailing I’ve ever done would be aboard a 106-year-old dugout canoe. And while I may never meet another boater who recognizes my house flag, with Judge North, one was enough.

Meaban

While François Vivier’s Meaban is a pocket cruiser he designed some 16 years ago, it has the look of a classic from a more distant era. Its design is a development of the Stir-Ven, which is slightly smaller than the Meaban but has a larger cockpit, a small cuddy instead of a cabin, and a transom-mounted outboard instead of an inboard well. In the early 2000s, Vivier began discussions with Pierre-Yves de la Rivière of Grand-Largue, a boatyard in Brittany, about a new design, the Meaban, with a proper cabin, a self-draining cockpit, an outboard well within easy reach, and an option for an inboard engine.

“The Meaban’s look was in the spirit of some small yachts as drawn by François Sergent (the Loctudy) or Eugène Cornu (the Bélouga),” said Vivier. “As for all my designs, I wanted to draw a true classic, beautiful and suited to another way of sailing, away from modern marinas. For instance, the low draft makes it an excellent boat for visiting small, drying harbors.” Vivier was particularly keen that the centerboard case shouldn’t encroach too much into the cabin, and so he moved it aft so that it is partly in the cabin and partly in the cockpit. He moved the rig correspondingly aft and gave the hull a plumb stem to maintain balance.

He initially designed the boat for strip-planked construction—that was the preference of the person who ordered the first set of plans—but Vivier soon produced new plans for cold-molded construction “which is lighter, easier to build, and completely free of problems due to temperature or moisture content.” Around two dozen boats have now been built, mostly by amateurs, and most are cold-molded. François offers plans and patterns for both a strip-built version of the Meaban and the plywood version shown here. Offsets are not available, so the shapes of the plywood parts are provided as full-sized Mylar patterns or files for CNC-cutting. A 23-page manual is included as a builder’s guide.

Photographs by the author

Meaban can be built cold-molded, strip-planked, or, as seen here, of marine plywood. Despite the modern construction, however, the design has a traditional flare.

The Meaban RIDEAU was built in Tasmania by Lindsay Pender for his own use. After taking delivery of the CNC-cut plywood components, Lindsay had to do a certain amount of finishing off. The notches for longitudinal components in the bulkheads, for instance, had rounded corners that he had to square off. For almost all the solid timber parts of the boat, Lindsay used celerytop pine, a species unique to Tasmania.

The boat is constructed around an egg-crate structure composed of plywood longitudinal components and 12 transverse bulkheads although some might be more accurately described as ring frames or semi-ring frames. Three of these—those in line with the forward and aft ends of the cabintop, and the one directly under the mast—are double thickness, as is the transom. After creating a building base, the bulkheads are set up vertically, upside down, along with the slightly angled inner transom layer. After the centerboard case is constructed, it is inserted into the appropriate cutouts in the bulkheads. The stem is laminated around a jig (the shape of which is provided by a Mylar template) and then set in position and notched into the forward-are bulkhead. For the hog, two lengths of 26mm x 140mm (1″ x 5-1⁄2″) timber are scarfed together and the slot is cut for the centerboard. This bends easily around the gentle rocker and is scarfed to the stem, then glued and screwed into the bulkhead and transom notches. The plywood parts of the longitudinal bulkheads, which run most of the length of the boat from the transom to the second-most forward bulkhead, are finger-jointed together and then fitted into their notches. Then the solid-timber beam shelf, stringers, and double stringers each side get put in place and trimmed flush with the aft face of the inner transom layer before the outer transom layer is fitted. The stem and hog are then faired in with the bulkhead edges to allow the hull planking to begin.

In the bottom part of the boat, the planking is made up of just one layer of 12mm (1⁄2″) plywood, which comes up to the middle of the double lower stringer. Lindsay had trouble bending and twisting the plywood in the forward part of the boat, and so he cut notches into the inner face and later filled them with epoxy. The remainder of the planking consists of three layers of 4mm plywood, laid in strips approximately 4″ wide with all of them aligned vertically and with the edge joints staggered in successive layers. There are about 300 such planks in total, and the edge of each of them has to be fitted to the edge of its neighbor. After the first two layers are butt-jointed to the 12mm bottom plywood along the double lower stringer, the third layer is fitted into a rabbet in the 12mm bottom plywood. The 12mm plywood and the first layer of 4mm plywood are epoxied to the hog, stem, and stringers and to the edges of the longitudinal and transverse bulkheads, with the next two layers of 4mm plywood epoxied to the preceding one and to each other. Staples and very small screws hold them in place while the epoxy set.

With its near-vertical ends and high-peaked gaff, François Vivier’s Meaban reflects the influences of traditional craft from France’s mid-Atlantic coast.

The wood keel that gets added next consists of seven 22mm (7⁄8″) laminates with a small solid section between the laminations and the hull at the aft end. The slot for the centerboard is cut into each of these seven pieces with a jigsaw prior to laminating. Within the wood keel there is a shaped recess for the 440-lb cast-lead ballast keel, which gets bolted in place. Lindsay made the pattern for this himself and had the foundry drill holes for the six 12mm keelbolts through the casting. Lindsay then fitted the lead keel while the hull was still upside down, using the holes in the lead to guide the drilling of the holes through the timber centerline components before bolting it on.

The outside of the hull gets faired and then sheathed with 200g (7 oz) biaxial cloth and epoxy, filled, faired, and painted. As recommended by Vivier, Lindsay did a great deal of the epoxy filleting between the structural components and the inside of the hull planking while the hull was upside down (although with hindsight he thinks it might have been easier to do it when it was the right way up).

After the hull is turned over, each of the individual internal hull panels forward of the mast bulkhead and those below the waterline elsewhere are sheathed with 200g biaxial cloth and epoxy.

The deck structure consists of 25mm x 25mm (1″ x 1″) carlins fitted into notches in the bulkheads and semi-ring frames, 30mm x 30mm (1 3⁄16″ x 1 3⁄16″) half deckbeams, 25mm x 60mm (1″ x 2 3⁄8″) deckbeams each side of the bulkhead directly below the mast, and various sizes of beams alongside bulkheads and ring frames in way of the foredeck. The cockpit and coach roof coamings are continuous, made up of two layers of plywood, each with staggered scarf joints. The cabintop is laminated from three layers of 4 mm plywood, and the side deck and foredeck are one layer of 10mm.

The cockpit sole sits on top of 20mm x 25mm (7⁄8″ x 1″) longitudinal members fixed to the inside faces of the longitudinal bulkheads, and the remainder of the cockpit and the outboard well are simply constructed from plywood and solid timber. The cabin’s interior joinery is similarly constructed and includes a berth each side and a double berth forward.

Down below, the cabin is welcoming. With ample natural light, the contrast of bright-finished solid celery pine and high-quality plywood in the main salon, offset by the white-painted forepeak, makes the interior appear simultaneously cozy and spacious. The side berths offer full sitting headroom, there is room for a stove, chart table, dining table and, beneath the V-berth, a portable toilet.

There is a space for a portable toilet centered under the aft end of the double berth. A chart table stows under the starboard cockpit seat and slides forward for use over the starboard seat/berth; and a dining table stows under the port cockpit seat and can be set up in the cabin by notching its forward end over the partial bulkheads at the ends of the seat/berths and supporting its aft end with a leg (although Lindsay finds it too wide to use comfortably). There is no stove installed, and Lindsay and his wife usually use a stand-alone propane stove in the cockpit. The interior is surprisingly spacious, and there is comfortable sitting headroom above the side seat/berths. Lindsay intends to make the seating more comfortable with the addition of backrest cushions.

Vivier designed Bermudan and gaff rigs for the Meaban, and Lindsay opted for the latter. The spars are of Oregon pine and of hollow construction, although the plans specify the boom should be solid. Lindsay fit a PVC pipe inside the mast to allow cables for a masthead light and a VHF aerial.

For shoreside stops, the plans include an anchor well, covered by a hatch in the foredeck, and beaching legs to keep the boat upright over its 6″-deep keel. Lindsey didn’t include these in RIDEAU.

The outboard is housed in a well beneath the aft deck. When in use, it is enclosed for sound insulation, but two panels can be easily removed to provide convenient access for filling the gas tank, starting the engine, and putting it in gear. The throttle can be operated with the covers in place. Under power the boat is steered with the rudder. Note the sculling notch in the transom—a common feature on traditional French boats.

A mast tabernacle, made in stainless steel from a detailed drawing included with the plans, allows Lindsay to rig RIDEAU fairly easily by himself and, with an off-the-shelf trailer, launching and recovering is a relatively straightforward process. Under power, the 6-hp four-stroke Yamaha outboard gives the boat about 5.5 knots at wide-open throttle. The outboard itself cannot be turned in its well but, with the propeller immediately forward of the rudder, the boat is particularly maneuverable when going ahead. The plans detail an outboard well with two removable panels that cover the engine to reduce noise. The tiller extends through a notch in the forward panel to provide control of the throttle. The rudder has a kick-up blade, held down with a line secured to an auto-release clam cleat.

We sailed RIDEAU from Bellerive on the edge of Tasmania’s Derwent River and, while the photographs here might indicate that the conditions were benign, an unsettled forecast and some noticeably threatening gusts prompted us to put a reef in the mainsail. Nonetheless, even when the wind was relatively light, RIDEAU gave an enjoyable and lively sailing performance with a balanced helm. We tacked through an angle of about 110 degrees, although we agreed that this could be improved with a tighter jib luff. The cockpit was comfortably roomy for the three of us onboard. Taking the helm requires standing occasionally to look properly over the cabintop. The part of the centerboard case in the cockpit is barely noticeable, while its forward end inside the cabin is supports a step for easier access in and out of the cabin.

The double-ended mainsheet allows the helmsman to adjust the trim of the sail from either side of the spacious cockpit while the jibsheets are led well aft so that a singlehanded sailor could easily trim both sails.

Before we launched for our afternoon sail, Lindsay told me that the Meaban is “a dream to sail in light winds,” and I was soon able to see that for myself. Lindsay and his wife, who are not the most confident sailors, haven’t yet worked up to sailing in stronger winds but it was clear to me that, as they get used to the Meaban, not only would they have little to fear but they will have great fun with it.

In every way it seems that Vivier has achieved his aims for the Meaban: “To be a pleasant day and cruising boat, fast and easy to steer. To have the charm and beauty of a classic boat with a lovely cabin and a welcoming cockpit.”

 

Nigel Sharp is a lifelong sailor and a freelance marine writer and photographer. He spent 35 years in managerial roles in the boat building and repair industry, and has logged thousands of miles in boats big and small, from dinghies to schooners.

 

Meaban Particulars

[table]

Length/22′4-1⁄2″

Waterline length/20′9-1⁄4″

Beam/7′6-3⁄4″

Depth/3′2-5⁄8″

Draft, board up/1′6-1⁄2″

Draft, board down/4′9-7⁄8″

Displacement (with motor and anchor)/2,591 lbs

Ballast (lead keel and centerboard)/ 695 lbs

Sail area/301 sq.ft.

[/table]

 

Study plans, plans, and patterns for the Meaban are available from François Vivier Naval Architect. Grand-Largue Boatyard, near Saint Malo, France, builds Meabans and offers kits.

Is there a boat you’d like to know more about? Have you built one that you think other Small Boats Magazine readers would enjoy? Please email us!

Lillie

In 1883 the Humber Yawl Club was formed in northeast England by a group of canoeing enthusiasts who felt that the conditions in the Humber estuary required more seaworthy craft than they had previously used. This led to the designing and building of so-called canoe yawls, although strictly speaking they were neither. Not only did they race against each other, both paddling and sailing, but they were also cruised extensively on sheltered inland waters. In the days before cars were used to trailer boats, the canoe yawls were built very lightly so that they could be loaded and carried on trains, and occasionally they were also transported by steamer to the European mainland. One of the Humber Yawl Club’s founding members was a young engineer called George Holmes who, in 1888, designed a canoe yawl called ETHEL which was built locally by J. Akester. At 13′2″ ETHEL was specifically designed to fit in a guard’s van (caboose) on a train, and her beam allowed two people to sleep on board, on either side of the centerboard case.

In 1991, Classic Boat magazine ran a series of articles on the build of a strip-planked replica of ETHEL. On seeing this, Tom Dunderdale commissioned Paul Fisher of Selway Fisher Design to design a slightly larger version. The result was the Lillie design which, with a length of 14′11″, could be built of stitch-and-glue plywood using 8′ sheets of plywood scarfed together, with seven strakes. Although Tom’s boat was built this way, Paul also produced plans to allow strip-planked construction.

The plans set includes six pages of drawings and a 12-page booklet, Building Schedule and Key to Plans. The plans include drawings and a table of offsets for each of the seven plank shapes; construction details for plywood and strip construction; measured drawings for frames, stems, and molds; and sail and spar plans for lug and gaff rigs. The booklet includes the key, notes on stitch-and-tape construction, and drawings for the tiller and motorwell.

Photographs by the author

Out of the water, Lillie’s sweet curve from bow to stern and complementing soft turn of the bilge can be fully appreciated. As the rudder must be hung before the mizzen mast is stepped, the low-hanging blade could cause a problem on a steep launching ramp, but if this were the regular setup for launching, the rudder could be fitted with a lifting blade. Note the purpose-built crossbeam bolted to the oarlock pads, which allows the trailer straps to be brought straight down without damaging the brightwork.

Retired Tasmanian doctor David Ridgers had previously built three boats for himself and was keen to build another. Initially he was drawn to the curved yards of the slightly larger Selway Fisher canoe yawl, the 16′ Casco Bay, but was unsure about the inboard rudder placement. When he visited the Australian Wooden Boat Festival in 2019 and saw a stitch-and-glue Lillie, whose owner was enthusiastic about the boat’s sailing characteristics, he decided that’s what he would build. He chose strip-planking, however, as he was “particularly attracted to the hull’s curvaceous shape,” which he thought would not be best served by plywood construction.

Because the plans include accurate drawings of each of the 13 temporary molds, there is no need to do any lofting. David initially transferred the mold shapes to sheets of 3⁄16″ MDF (medium-density fiberboard) as it was very easy to shape, and he then used those as patterns to create the 1⁄2″ MDF molds with a spindle molder/shaper. Once they were set up upside down and checked with a laser level and a long fairing batten, he half-jointed the inner stem and sternpost (both from 2″ × 1-3⁄8″ solid Huon pine) to the 1″ × 4-3⁄4″ western red cedar hog (keelson) and set them up on the molds. He then fitted the 3⁄4″ x 2″ Douglas-fir inwales (laminated from two pieces) into the notches cut in the molds. For the planking strips he used 13⁄16″ × 3⁄8″ western red cedar, but rather than using bead-and-cove or tongue-and-groove sections, he beveled the edge of each plank to fit its neighbor. He started planking at the sheer, “perhaps unwisely,” and worked toward the keel, but when he got to the turn of the bilges, he realized he was going to have problems with the bend and twist. He got over that by fitting about 10 strips that were half as wide or even less, but kept them parallel. He used Titebond III PVA adhesive to glue the planks to each other, to the centerline components, and to the inwales, and temporarily stapled them to the molds. After trimming the ends of the planking where they ran out over the centerline components, he fitted the outer stem and sternpost, which were laminated in situ, and the 1-1⁄4″ × 1-3⁄8″ outer keel, all in celerytop pine.

After fairing the planking, he sealed it with a penetrating thinned-out epoxy, sheathed it with 165gsm (7-oz) twill ’glass and epoxy, and then filled and faired it. He completed the below-the-waterline painting before turning the hull over. (He initially painted the bottom white and the topsides black, but after he launched the boat, he found that bright sunlight highlighted the filled holes under the black paint, so he redid the paintwork with the colors reversed.)

With the hull the right-way up, the molds were removed. The hull was stiff enough without them, thanks to the inwales. The inside of the hull was then sheathed in the same way as the outside.

In a small boat the canoe stern introduces some challenges, especially for a yawl sail plan. The mizzen is sheeted to an offset boomkin and is led to a jam cleat outside of the cockpit coaming and close to hand for the skipper. The tiller—its movement obstructed by the mizzenmast—is laminated in two parts, both of which have a steam-bent curve built in. The mast is stepped through the resulting hole. The first tiller David made (seen here) does not allow the tiller to swing beyond 15° on either side. David is fabricating a replacement that will accommodate the full 70° arc indicated in the plans.

The centerboard case was made up of 3⁄8″ ply with a thin veneer of Huon pine. David has his own vacuum veneer press in his workshop and, because he is all too aware of what a valuable resource Huon pine is these days, limits his use of it to veneers rather than solid timber wherever he can. Six 1″ × 1⁄4″ celerytop-pine ribs—which weren’t shown on the plans, but which David thought would “add to the boat’s appearance and make her less like a fiberglass boat”—were then steamed into place each side and glued in with screws temporarily holding them through the hull.

The 3⁄8″ ply bulkheads at each end of the cockpit have oval hatch covers veneered in bird’s-eye Huon pine. The semi-ring frame amidships is split by the centerboard case. David placed the latter 2-½″ farther forward than shown in the plans to provide an option of stretching out and sleeping between it and the aft bulkhead. The case also had notches to accept the carlins (1″ × 1-3⁄8″ and laminated from two pieces). After fitting these, David then fitted the 5⁄16″-thick teak coamings inside the carlins. He found this one of the most challenging parts of the build but managed to do it without steaming the timber. David fitted the 1⁄8″-thick teak rubbing strake—which is tapered slightly at the ends to accentuate the sheer—before the deck went on so that he could clamp it.

The outboard well is featured as an option on the plans. For David, a small electric motor was a must and thus so was the well. Beyond the well can be seen one of the six celerytop-pine ribs that David fitted for purely aesthetic reasons.

The main deckbeam forward of the cockpit is laminated celerytop pine, but all the others are sawn King Billy pine (1″ × 1-3⁄8″), and when these were in place the 1⁄4″-thick plywood subdeck was fitted. The teak margins, kingplank, and covering boards were then laid, followed by Huon pine straight-laid planking with teak inlays in the seams, all 5⁄32″ thick. David used 3⁄8″ ply for the floors, some of which are double thickness, and which also act as bearers for the sole boards of 1⁄2″ Surian, an Indonesian hardwood. At the aft end of the cockpit, offset to port, David fitted an outboard well, an option shown on the plans.

The plans call for solid Douglas-fir spars (with bamboo as an option for the lug yards). David made hollow Douglas-fir spars using octagonal bird’s-mouth construction, and the masts have tapered tenons at the bottom for easy location into the steps. He added a sealed plastic tube to the mizzenmast’s step to avoid water getting into the aft locker, although that does mean water can settle in the tube itself.

The low main boom calls for some close attention and nimble movements from the crew when tacking or gybing. As designed, Lillie has straight rather than curved yards, and these would slightly raise the booms. With no headsail, the balance-lug yawl sail plan does require practice, but once mastered it offers plenty of maneuverability, and the large usable sail area is beneficial when sailing downwind.

David decided to give the yards a curve—as they are for the Casco Bay, which had first attracted him, and because he thought he would enjoy the additional challenge of making them. It would seem that this decision has contributed to the booms being lower than if they were straight as in the plans calling for closer attention from the crew when tacking and jibing.

With two of us on board, the electric outboard drove the boat at about 5 knots at full power, and could be rotated to give maneuverability both ahead and astern. The boat was also a pleasure to row with the 7′ oars designed by Iain Oughtred for his Elf, which David had built previously.

David told me that during his first sail in the boat, she was a bit overcanvased for the wind strength (about 15 knots) but he felt safe nonetheless. During my brief sail in fickle conditions, the boat hinted that it could provide tremendous fun and excitement, and sitting on the cockpit sole or on flat fenders on the side decks were both comfortable options. We did, however, have a bit of trouble when trying to tack, but for reasons that are solvable. The tiller is made in two parts, with a steam-bent curve around the mizzenmast. David used Tasmanian blackwood, but it sprang back after steaming, resulting in a tiller that only allows about 15° (instead of the designed 35°) of movement each side. He is making a new tiller with thinner and more laminations. Without the option of a headsail (which the gaff-rigged version has) to back when tacking, the relationship between main and mizzen is critical. We discovered that the best method to help turn the boat through the wind is to ease the mainsail immediately before tacking while keeping the mizzen sheeted hard in; as the boat passes through the wind, ease the mizzen and sheet in the mainsail; then delay sheeting in the mizzen until the boat has gathered way on the new tack.

Lillie comes into her own on a broad reach. Skimming across the water she feels stable and easily handled, especially when sailing singlehanded.

We both agreed that the boat felt stable, helped no doubt by the 4-¾″ square lead insert in the bottom of the ¾″ ’glassed plywood centerboard. After further sea trials, David reported that “progress to windward seemed acceptable, and the boat was even happier sailing free,” and that certainly fit with my impression of the boat’s enjoyable reaching performance.

Nigel Sharp is a lifelong sailor and a freelance marine writer and photographer. He spent 35 years in managerial roles in the boat building and repair industry and has logged thousands of miles in boats big and small, from dinghies to schooners.

Lillie Particulars

[table]

Length/14′11″

Beam/4′8″

Mid-hull depth/ 1′5″

Draft, board up/8″

Draft, board down/2′1″

Sail area, lug/106 sq ft

Sail area, gaff with jib/104 sq ft

Dry weight/approx. 353 lbs

[/table]

 

 

14′ Whitehall

For the past 35 years I’ve built dozens of small boats, and all of them have been made of wood. I did, however, make one small foray into making a fiberglass boat. I had carved a 12″ model of a Whitehall by eye from a fragrant, fine-grained piece of Alaska yellow cedar, and while it was pleasant to work and I enjoyed having the hull shape gracing my living room, I had to keep it out of the incautious hands of my two young children. I decided to splash a fiberglass mold of the model and produced a couple of ’glass hulls to give as toys, confident the composite reproductions were tough enough to hold up to their rough use. Gig Harbor Boat Works evidently had the same idea: a composite Whitehall would have a significant advantage over a wooden one; you could do almost anything with it and not have to fret about the easily damaged woodwork.

Christopher Cunningham

The Whitehall has an uncluttered, easy-to-clean interior. The sliding thwart offers the rower freedom of movement from side to side and keeps its tracks out of the middle of the boat where those of a standard sliding seat would be in the way of getting in and out of the boat.

The company, founded in 1986, is based in Gig Harbor, Washington, and produces small composite boats inspired by traditional small craft of the 19th century. I recently paid a visit to the Boat Works to try their 14′ Whitehall. It has the appearance of a lapstrake hull, typical of the Whitehalls built in New York prior to 1850. The top three strakes have distinct “laps” that accentuate the hull’s curves and below that the “strakes” are defined by subtle chines, providing a smoother underbody to reduce drag. A molded keel runs from stem to skeg to aid in tracking and the depression it creates inside the cockpit creates a narrow channel to direct bilgewater to the drain.

Christopher Cunningham

The footboard can be set in one of three pairs of slots for sliding-seat rowing or fixed-thwart rowing or removed to let the bulkhead serve for fixed-thwart tandem rowing.

There are two standard layups available, and both are hand layups with polyester resin and gelcoat. The basic version is fiberglass roving and the lightweight version, featured in this review, is a biaxial fiberglass cloth over a Divinycell foam core with Kevlar reinforcements in the high-stress areas. The standard gunwale has a tough vinyl extrusion. For a touch of brightwork, the gunwale is available in red cedar with sapele accents.

Sealed compartments in the bow and stern provide seating for passengers and flotation to keep the boat afloat when swamped. While airtight compartments come in handy for stowing gear out of the weather, U.S. Coast Guard requirements don’t allow the manufacturer to install hatches in compartments that are designated for flotation. Both compartments have small holes drilled in their bulkheads to equalize air pressure so you can drop a hot boat in cold water or trailer it over a mountain pass without stressing the hull. The holes might be rather inconspicuous left as they are, but the small polished stainless-steel covers fastened over them are a nice touch. There are four chrome-plated brass fixtures are for hanging fenders.

Christopher Cunningham

The sliding thwart rides on rollerblade-style wheels with soft tires for smooth rolling and UHMW/nylon corrosion-free bearings. Note the wheel beneath the seat, one of four that centers the thwart. Locking pins can engage holes in the flange to lock the seat for fixed-thwart rowing.

The sides of the aft compartment extend to the forward thwart, creating a pair of parallel ledges that serve as the tracks for the sliding seat. The sliding seat is a standard feature. It has roller-blade-like wheels with nylon/UHMW (ultra-high molecular weight polyethylene) bearings that won’t corrode in a marine environment. The space between the side benches in the stern have a series of three slots for a foot board that is held in place by a pair of removable pins. Loops of Velcro to hold the feet for sliding-seat rowing are about as simple as they can be yet easily adjusted and entirely effective for holding feet in place—even if you rush the slide on a quick recovery.

Matt McKendry/Katie Malik

The Whitehall could support me when I shifted up against the side.

Areas of non-skid texture are molded into the interior of the hull and the tops of the seats, so I had good footing getting in and out of the boat. The stability was reassuring, and I could drop down from a dock into the boat without feeling unsteady. I could shift to one side of the sliding thwart right up to the gunwale and still have just enough freeboard and reserve stability to maintain my balance. The sliding seat can be locked in an aft position for tandem rowing or amidships for solo fixed-thwart rowing.

Matt McKendry/Katie Malik

When I rowed solo with the sliding seat, the stern settled at the catch…

Matt McKendry/Katie Malik

…and the bow came back down at the finish. A bit of ballast in the bow—cruising cargo or a drybag filled with water, perhaps—would improve the trim.

I started my afternoon of sea trials with solo sliding-seat rowing. The Whitehall’s 55″ beam provides enough span between the standard silicon-bronze oarlocks to row 8′ -long oars effectively without an overlap of the handles. I maintained a GPS-measured 4 knots at a relaxed pace, 4.7 knots at an aerobic-exercise effort, and hit 5 knots in a short sprint. The boat felt good while I was rowing, but I noticed in the photographs that the bow lifted above the water at the catch when my weight was aft and returned to the water at the finish of the stroke when I leaned toward the bow. I had set out with the foot board in the aft pair of slots setting my weight farther aft than it could have been at the forward slot and with my legs extended, there was more run left on slides. If I had used the forwardmost position for the footboard my weight would have positioned about 6″ farther forward. That might not make an appreciable difference, but if there is any gear or water ballast to be carried aboard, the additional weight should be set well forward.

Matt McKendry/Katie Malik

The Whitehall trimmed nicely while rowing tandem with the sliding thwart locked in place.

The Whitehall tracks well and I never had to adjust my course by pulling harder on one oar than the other. Turning 360° in place took only seven strokes—pulling on one oar, backing the other—several fewer strokes than I expected. The cutaway skeg evidently helped strike a good balance between tracking and turning.

Matt McKendry

With the rower at the forward station, a petite passenger can sit in the stern without putting the Whitehall out of trim. The boat is better off with a larger passenger sitting on the sliding thwart.

With a partner taking to a second pair of oars at the forward rowing station, I slid the sliding thwart to the aft position and locked it there with a pair of pins. I took the footboard out to use the aft compartment’s bulkhead as a foot brace. The spacing between the tandem stations is a bit tight, but it didn’t take long for the two of us to adjust the length and rhythm of our strokes and row well together without clashing our blades. We did 4.3 knots at a relaxed pace, 5.2 knots at an exercise pace, and 5.5 knots in a sprint; good numbers for a 14′ boat.

I switched places with my rowing partner and took the bow station while he sat in the stern as a passenger. Although he sat as far forward as he could on the aft seat, I could tell the Whitehall was down by the stern and my top speed was around 4-1/4 knots. When he sat on the sliding thwart, still locked in its aft position, the trim improved, and I could do 4-¾ knots.

Matt McKendry/Katie Malik

With two aboard providing some weight to keep the bow down, an outboard, especially a lightweight quiet electric one, makes sense for the Whitehall.

The early Whitehalls were built a half-century before the advent of outboard motors and their distinctive wineglass transoms, set high above the water with only the ends of the skegs in the water to support them, were designed for rowing not motoring. There’s no volume in the stern to support an outboard let alone an operator sitting next to it. We mounted an EP Carry electric outboard on the Gig Harbor Whitehall; at 21 lbs, the motor is about as light as an outboard can be. With only an operator aboard, keeping her weight as far forward as possible, the Whitehall moved along at a good clip, but the bow was out of the water. For the operator, that might not matter much—the motor is doing all the work. An outboard tiller extension would make it easier to operate the motor from a position closer to the middle of the boat (although an EP Carry’s throttle won’t fit a standard extension). Bringing a passenger along will hold the bow down and motoring for two with a quiet electric motor could make for a very pleasant outing. With two of us aboard, the EP Carry could push the Whitehall at 4 knots.

Before we pulled the Whitehall out of the water, I wanted to see if I could lift it. I stood amidships, set the turn of the bilge on my thighs, and leaned back. The Whitehall rose clear of the water without much effort on my part. I wasn’t tempted to do more than that, but I was impressed that the boat’s 125 lbs was so easy to handle. Two adults should be able to lift and walk with the boat if that’s required. A popular option is a stainless-steel keel guard to take the worst of the wear when the Whitehall needs to be dragged ashore. The weight of either of the hull layups result in a boat that can be launched from and reloaded on a trailer singlehandedly.

Making a composite Whitehall was a good idea, not only for the toy boats I made but also for the 14′ Whitehall Gig Harbor has produced. The care I’m compelled to take with the New York Whitehall that I built in the traditional manner limits what I do with it and the Gig Harbor Whitewall performs just as well, if not better. It is lighter, tougher, and better suited to rugged service.

 Christopher Cunningham is the editor of Small Boats.

14′ Whitehall Particulars

[table]

Length/14′

Beam/55″

Weight, Fiberglass/145 lbs

Weight, Kevlar-Composite/125 lbs

Sail area (optional rig)/Main 57 sq ft, jib 28 sq ft

Outboard rating/ 2 hp

Capacity/3 passengers, 492 lbs

[/table]

The 14′ Whitehall is available from Gig Harbor Boat Works. The base price is $6,995. A sailing version is available for $10,295. Options and accessories are available.

Is there a boat you’d like to know more about? Have you built one that you think other Small Boats Magazine readers would enjoy? Please email us!

New York Whitehall

In American Small Sailing Craft, author Howard I. Chapelle writes: “Perhaps the most noted of American rowing work boats was the Whitehall.” That was the case in New York City, beginning in the 1820s, when Whitehalls served as water taxis. Two hundred years later, the Whitehall, in its many forms, may be the most noted American recreational boat.

Christopher Cunningham

These drawings and offsets in American Small Sailing Craft provide just enough information for an experienced boatbuilder to build the New York Whitehall. The orange highlights are errors I found; they were easily identified and worked around.

Chapelle’s drawings of the New York Whitehall built in the New York Navy Yard in 1890 occupy a single page in his book and include both lines and construction in profile, section, and plan view. The offsets and text suffered in the reproduction of the original artwork and require a magnifying glass to read. The two pages of text preceding the illustration delve into the history of the Whitehall type and offer general comments on the New York model’s construction: plank keels, skegs, steam-bent frames, white cedar planking, and oak keel and posts. Even for an experienced boatbuilder it’s a bare minimum to go on, and additional resources, particularly John Gardner’s chapters on Whitehalls in Building Classic Small Craft, are helpful.

As I was lofting the hull, I discovered four errors in the offsets. They were obvious enough—I would have to torture the batten to touch the marks for them—that they were easily identified and ignored. I made 13 molds, one for each station in the table of offsets, and set them at 12″ intervals on a ladder building frame.

Chapelle notes two ways of constructing the plank keel: “The most common way was to make the plank keel straight with the skeg erected on it. A less common method was to spring the plank keel so that it followed the rabbet aft and then apply the skeg below it. This made a very good construction, but there was sometimes great difficulty in bending the plank keel and holding it in place while building.” I chose the latter and steamed the aft ends of the plank keel and its hog to curve them around the molds. It was indeed hard to make the bend and hold the keel pieces in place. The keel’s ends are secured to an oak stem and its knee forward, and the heart-shaped mahogany transom and its knee aft.

Christopher Cunningham

The carvel-planked boat documented by Chapelle was built in 1890, and was typical of the Whitehalls built between 1860 and 1895. Prior to that, from the beginning of the type in the late 1820s, Whitehalls were lapstrake.

The first Whitehalls were lapstrake, but by 1850 most were carvel planked. I opted for the original construction, believing that lapstrake is better suited for a trailered traditionally built boat that spends most of its time out of the water. Instead of the 3⁄8″ white cedar Chapelle cites, I used 7⁄16″ Port Orford cedar for the planking and, like the original Whitehalls, mahogany for the sheerstrake.

Christopher Cunningham

Almost 130 years after the original New York Whitehall was built, the hull form remains popular among rowers.

Planking, whether carvel or lapstrake, begins with lining off the hull to determine the plank sizes and shapes. This step takes time to do properly so the planks’ widths in the finished boat are uniform and their curves are fair. I lined the hull off for 10 strakes instead of the nine indicated in the drawings for carvel planking. The first several strakes have a considerable twist in them and require steaming to get them to relax before being fastened to the stem and transom. The original carvel hull had 3⁄8″ x 1″ steam-bent frames on 12″ centers. For my lapstrake hull, I used frames with the same scantlings on 6″ centers.

The 1890 Whitehall had thwart knees made of ¼″ x 1″ metal straps—probably bronze—with T-shaped ends secured to the thwarts. I had a collection of fruitwood crooks and used them instead. In the bow, level with the forward thwart, is a wooden grate with a chevron design. It is tricky to build, but pretty enough to be worth the effort. I added cleats on the bottom side to provide support to all the half-lapped crosspieces.

Christopher Cunningham

The rudder is equipped with a yoke and is designed to be operated by a passenger. The backrest, while not indicated in the plans, keeps the passenger’s weight from being planted in the stern where the hull is cantilevered over the water.

In the sternsheets I added a backrest similar to one in Gardner’s chapter on Whitehalls. It simply drops in place and keeps a passenger’s weight from settling well aft, right up against the transom, which is a bad place for boat trim. The drawings indicate a yoke instead of a tiller, the best option because a passenger can sit centered in the sternsheets and face forward to steer. The rudder’s bottom is even with the skeg so the boat can be beached without having to tend to a rudder with a deep or drop-down blade.

The grating in the bow is a distinctive touch. I’d initially screwed it to the risers and a support extending from the underside of the thwart. To get better access to the bow, I later made it removable with a small thumb cleat on the stem and two turn buttons on the forward ends of the forward thwart.

The floorboards follow the run of the plank keel perimeter and the laps of the first two strakes, and are screwed to the oak frames. I have a hole in the center floorboard for a bilge pump, but otherwise don’t have access to the space beneath the floorboards. Eric Hvalsoe’s system for removable floorboards would improve access for maintenance (and retrieving stray pencils). Because the hull curves up on top of the skeg, the best place for the drain plug is in the plank keel at the bow just aft of the stem.

Lily Cunningham

Whitehalls are well known for their shapely wineglass transoms. Chapelle referred to them as “heart-shaped.”

The New York Whitehall is shown without stretchers for rowing. Gardner’s 17′ Whitehall has two pairs of stretcher cleats fastened to the floorboards for use with a removable stretcher, but in my Whitehall they would pose a tripping hazard so I devised one stretcher that is supported underneath the sternsheets and another hung from the aft thwart.

The New York Whitehall’s 7″-wide plank keel has an advantage over the more common vertical keels: at the ramp the boat behaves itself on and off the trailer and sits upright on the beach. With its round bottom and a beam of 4′3″, the Whitehall feels only a little unsteady when I’m getting aboard, but once I’m seated it’s comfortably stable.

The three sets of oarlocks have spans of 41-1⁄4″, 50-1⁄4″, and 49-1⁄2″ (bow to stern), calling for oar lengths of 6′8″, 8′1″, and 7′11-1⁄2″ (calculated using the standard formula). I made oars at 6′10″, 7′4″, and 8′. I rarely use the 8′ oars, and I’ve recently been using a pair of 7′6″ oars at the center station and like the way that length feels.

Rachel Hynd

The 14′ Whitehall is a good size for a solo rower and makes satisfying speed both on calm water and when the wind kicks up a chop.

I row solo on the middle of the three thwarts that serve as rowing stations. The skeg provides good tracking and doesn’t require constant attention to hold a course. It takes 11 strokes—pulling with one oar, backing with the other—to make a U-turn. Rowing solo I can maintain 3.5 knots knots with a relaxed effort, hold 4.3 knots at an aerobic fast pace, and hit 4.9 knots in a short sprint. With my son rowing with me, the Whitehall did 3.8, 4.3, and 4.8 knots respectively.  When I rowed in the forward station with him as a passenger in the stern, the speeds  were 2.8 , 3.5, and 4.1 knots

Lily Cunningham

The spacing of the rowing stations amply separates two rowers, thus minimizing the clash of oar blades should they get a bit out of sync.

With two aboard, both can row by occupying the forward and aft stations—the 57″ space between them provides plenty of room. The Whitehall trims down by the bow a bit in this configuration, particularly when finishing the stroke with a strong layback. With two at the oars and a passenger in the stern, the Whitehall trims well and the rowers can pull hard and leave the steering to the “coxswain.” To aid steering for rowing double without a passenger, I made a stretcher with a foot-operated tiller that gets connected to the rudder-yoke lines.

Nate Cunningham

A single rower in the forward station with a passenger in the stern trims the Whitehall just right.

Chapelle notes, “The boat was not for use in the open sea, but was designed for large bays and harbor work, where a heavy chop might be. It rowed fast in smooth or choppy water; it was safe, carried a heavy load easily, and was dry.” I’ve confirmed that by rowing my Whitehall in winds up to 24 knots and waves beginning to crest. It carried its speed very well, even upwind, and wasn’t hampered by plowing through waves.

Christopher Cunningham

The 1890 New York Whitehall did not include a sail rig, but the plank keel makes it easy to add a mast step and centerboard trunk.

The drawings for the New York Whitehall do not include a sail rig but, according to Chapelle, “boats which covered great distances, such as ship-chandlers’ boats, often were fitted to sail, and had a small centerboard and a low spritsail.” Gardner’s drawing of a 14′ sailing Whitehall with a hull similar to the New York model shows a sprit main with a small jib and a rectangular centerboard trunk. The oak plank keel makes the addition of the trunk and the maststep easy by providing a flat surface to mount them without having to involve modifications to the garboards. For sailing, I swap the rudder yoke for either a standard tiller or Norwegian tiller for better control with one hand. The Whitehall performs well under sail, but I’m not as agile as I used to be and find it awkward to move about in the small cockpit while coming about or responding to gusts.

The New York Whitehall is not an easy boat to build, but it is an excellent exercise in traditional construction. While many contemporary boats endeavor to duplicate the Whitehall shape in modern materials, one built as the originals were in the middle of the 19th century can be a great pleasure to row and is always gratifying to look at. Mine is now 39 years old and with its traditional construction should serve a few more generations to come.

Christopher Cunningham is the editor of Small Boats Magazine.

Is there a boat you’d like to know more about? Have you built one that you think other Small Boats Magazine readers would enjoy? Please email us!

New York Whitehall Particulars

Length/14′ 3-3⁄8″

Beam/4′ 3″

Depth amidships/16-3⁄8″

The drawings of the New York Whitehall are in Howard I. Chapelle’s American Small Sailing Craft, published by W.W. Norton & Company.

A Sneakbox on the Gulf Coast

The Ohio and the Lower Mississippi rivers had carried me and my sneakbox, LUNA, 1,840 miles in the 57 days I’d spent rowing from Pittsburgh to New Orleans. On January 5, 1986, 3 miles downriver from where I’d spent the night moored between pilings under a downtown wharf, I left the Mississippi at the Industrial Canal locks. The lockmaster wouldn’t let me enter on my own—there were too many tugs and tows that needed to get through.

Photographs by the author

The lockmaster wisely prohibited me from bring LUNA into the locks unaccompanied. Captain Duffy of the towboat LEAH was my escort.

The skipper of LEAH, one of the tows waiting to enter the lock with its raft of barges, had overheard my conversation with the lockmaster and stepped out of his second-story wheelhouse and motioned me to come alongside. Two deckhands took my lines, set LUNA against a set of truck-tire fenders, and I climbed aboard LEAH to join Capt. Duffy for the passage through the locks.

Nathaniel Bishop, whose book Four Months in a Sneak-Box inspired my sneakbox voyage, left New Orleans by way of the New Basin Canal, which was in use from 1830s to the 1940s. It took him to Lake Pontchartrain where he rowed east to The Rigolets, a pass that opened out onto the Gulf of Mexico.

In some places the marshes spread out for miles. Along the canal, the dredge spoil seemed to be almost all shells.

Over the next 8 miles beyond the locks, I rowed eastward along the Gulf Outlet Canal, part of the Gulf Intracoastal Waterway (ICW), and passed the long taper of the crenellated New Orleans skyline, from the downtown high-rises to the squat industrial buildings, until all that was left of the city was a road on top of an arrow-straight levee flanking the north side of the canal. All around the levee there was only salt marsh, miles-wide expanses of hip-high cordgrass, cigar-brown and immobile in the breeze like a drought-brittle prairie. The bayous that veined the marsh provided dozens of safe havens from the boat traffic in the canal, and at the day’s end I rowed into one just far enough to have a loop shield LUNA from boat wakes. I stowed the oars on deck and cleared the cockpit to spend the night on board.

Fort Macomb, built of brick in 1820, in such a sad state that it is closed to the public.

In the morning the decks were flocked with thick frost. I hadn’t covered the cockpit to protect my sleeping bag, but I’d slept warmly anyway. The wind had shifted to easterly during the night and was tearing straight down the canal. Any other direction would have made for good sailing, but instead I rowed all day into a headwind. All along the shore, scattered on matted salt grass, were carcasses and skeletons of nutria, aquatic rodents that look like beavers, right down to their pumpkin-colored teeth, but easily identifiable by their long round rat-like tail. The nutria as well as the beaver and the headless rattlesnake I found along the canal must have been victims of one of the hurricanes that had swept the Gulf Coast the previous fall. Right in the middle of the marsh I passed the grass-crowned Fort Macomb, built in 1822 to guard a pass into Lake Pontchartrain. It didn’t look like it had ever seen action—its curved brick wall was unscarred.

The captain of a passing tug stepped out of the wheelhouse two stories above me to yell, “You ought to have a little motor!” I pointed to my oars. It left me baffled. He must not have considered that great things are possible with oars and that someone might be perfectly content to use them.

This elevated structure was in bad shape when I saw it, but it remained standing for at least another 29 years. A 2016 satellite photograph on Google Earth shows it collapsed and awash.

At the end of the canal, I arrived at what might have once been the main and upper deckhouse of a tow boat elevated on 40′ stilts of badly rusted steel pipe. I climbed the stairs carefully, testing each one to see if it could support my weight. The handrail was loose and so rusty I could have kicked it off. From the top, I could see out into Lake Borgne, a saltwater lagoon open at its east end. It was my first glimpse of the Gulf of Mexico.

The badly listing houseboat turned out to be a fairly good place to spend the night. LUNA had the bedroom to herself.

I got back in the boat safely and rowed alongside a railroad bridge across The Rigolets, a 3⁄4-mile-wide pass to Lake Pontchartrain to the opening of Little Lake, an enclosed saltwater bay a mile wide and over 2 miles long from west to east. I bucked whitecaps and a stiff headwind until I reached the lee of its east side. By the time I reached the gap to the Pearl River, it was dark and beginning to rain. I saw a camp on stilts on the right bank, but the canal leading to it was shallow and could be dry on the morning’s low tide, so I opted for a houseboat that had slipped off one of its two steel-cylinder floats. The whole house listed at 20 degrees, and the bottom of its north side was in the water.

The hole in the river-side wall turned the bedroom into a garage for the sneakbox.

The wall of the bedroom had been torn out and left an opening wide enough for LUNA, so I pulled her in. I needed a level surface to sleep on, so I ripped the front door off its hinges—putting a rock between the edge of the door and the jamb and closing the door made quick work of pulling the hinge screws out—and propped it up in the living room with a TV stand. It was an interesting view from inside out the windows, seeing the river water up to the horizon two-thirds of the way up the window frame. I was well sheltered from the rain, but I didn’t get much sleep with the wind rattling loose tin on the roof.

I usually leave my campsites at least in as good shape as I found them, but after tearing the front door off its hinges to use it as a sleeping platform, there was no putting it back in working order.

Getting the boat out of the bedroom in the morning was tricky with wet boots on the sloped linoleum floor, but I got aboard without sliding into the river. I rowed along the Pearl River, in rain and headwind again, to Campbell Outside Bayou, a winding 50-yard-wide passage that should have been a pleasant meander, but the marsh grass was so low it provided no protection from the wind. Some 2-1⁄2 miles and 25 sharp bends in, I stopped at a marina for a break. Two trappers arrived about the same time in a jonboat filled with muskrats and nutrias. One of the trappers said the pelts sold for $3 apiece in New Orleans where they’re made into fur coats. The other trapper swished a nutria in the water and tossed it on the bank. It flinched when it hit and then stiffened, not quite dead. Another’s broken leg bone stuck out.

I rowed more bayous in a generally eastward direction, keeping close track of my position bend by bend to avoid getting lost in the web of intersecting bayous that all looked the same. The last of them, Three Oaks Bay, delivered me to the open wind-raked waters of Mississippi Sound. At its mouth, the banks of the bayou turn away from one another and the passageways of canals and bayous from New Orleans open out to the enormous atrium of the Gulf of Mexico. The press of an east wind coming from the unbroken curve of a distant horizon tumbled the waves and bowed the marsh grass at the land’s edge.

Roger Siebert

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It was too rough to continue, and while I was stopped at the mouth of the bayou, an inbound fisherman came alongside. He was in a work-worn ’glass runabout with a half-dozen frayed-fiber holes worn through the hull at the gunwale. He asked if I was okay. I was and told him I was just a bit cold. He spread the tarp and blankets that he had wrapped around his shoulders and said, “You get the wind off you, ’n’ that’s all you need. Well, if I can’t be of any help to you, I’ll be going.”

I backtracked up Three Oaks to a feeder bayou with just enough clearance either side to row into. I listened to the weather radio as I started to set up camp, but after hearing sleet and freezing rain was coming I decided to move, and repacked. It was only 2 p.m. and I might have time to get to the sheltered marinas at Bayou Caddy, 3-1⁄2 miles to the northeast along the Gulf Coast.

The rowing was always more interesting in bayous and canals where the scenery was close by.

I left the protection of Three Oaks and eased LUNA out through the breakers. Her low bow pierced the waves, and their crests collapsed on the foredeck and fanned out from the dodger like the whiskers of a cat. I turned north, parallel to the shore, and although I rowed 100 yards from shore, the oar blades still caught the bottom when the sneakbox dropped into the troughs. Soon the bottom corners of the coppers protecting the blade ends came up gleaming, polished by the sand.

I kept an eye on the diffuse light of the clouds. As it darkened, I rowed harder. To the west I noted the slip of the foreshore beneath the wooded horizon and gauged my speed. Iron pipes driven into the shoals, markers of some sort, were hidden by the waves but jutted like lances from the troughs. Between strokes the oar blades ricocheted off the tops of waves. I reached the harbor at Bayou Caddy before dark, but my hands had paid a price for the hard row: the fingers of my right hand were numb.

Bayou Caddy was home to the fishing fleet, and the marina was crowded with workboats. Nick, owner of an oyster dredger, invited me to come alongside and spend the night in the boat’s cabin. After he left for home, I stayed up till midnight catching up on letter-writing. Nick was back at the boat at 6 a.m. and fried eggs for my breakfast. I packed up and before I headed out, he drove me 8 miles along the coast, as far as Bay St. Louis to look at the water. It was as I had figured. The wind had shifted to the north overnight, and I would have a bit of a lee to row in.

It was wet going for the first mile. The water was very shallow even 1⁄4 mile from shore. To take advantage of what little protection from the wind the low coastline had to offer, I sounded with the oars frequently, lifting the handles through the middle of the stroke to find the bottom with the blades. The underwater contour I followed gave me a depth of 8″ or 9″ of water. In the shallows the water felt sticky. The LUNA’s underwater wake pulled against the bottom and slowed her as palpably as if she were dragging a chain. Mired in windage and drag, the boat didn’t carry much momentum between strokes; the wash of my oars piled up just aft of the transom as if they’d fallen off the end of a conveyor belt.

I rowed from 8:30 till noon and stopped at Bay St. Louis to use a bathroom. On the broad white sand beaches there was no escaping the notice of people on the beach road and in the houses beyond.

The people I met along the waterways were unfailingly kind. I may have asked just for water but received much more.

I crossed the 1-3⁄4-mile-wide inlet between Bay St. Louis and Pass Christian, and in a race to beat sunset I pulled hard for Long Beach and felt my fingers go numb again. Without an anchor I had no way to hold my ground in the wind but to row. Left on her own, the saucer-bottomed sneakbox would pivot on her skeg and run with the breeze. I was unwilling to rest at the cost of a 1/4-mile row back to shore, so I ate as I rowed. In between strokes I assembled cheese-and-cucumber sandwiches, taking up the oars each time the bow began to fall away from the wind. I stuffed the sandwiches into my mouth by quarters and exhaled through my teeth, shooting breadcrumbs out over the afterdeck.

I came into the Long Beach Marina at nightfall, stupid with fatigue. It was hard to think about what I had to do to get ready for the night, though it had been my routine for two months. I paddled in between the concrete pilings beneath the marina office. I ran the painter over some of the plumbing overhead, a stern line over a cross beam, and tied the ends of both lines to the handle of my water jug to keep tension on the lines as LUNA dropped with the tide. The wind rushed through the harbor, slapping halyards against aluminum masts with the dampened ring of cowbells. LUNA yawed back and forth on her tethers, wagging in the wind like a fish idling in a brook.

For 15 minutes, maybe 30, I tried to find a light to write by. I had left my flashlight behind on Nick’s boat, and my headlamp’s battery was dead. In the clutter of gear in the seat box it was hard to find the candle lantern and a lighter by feel. When I got them and lit the candles, I couldn’t find my pen. Then the candle blew out. After giving myself a minute to feel sorry for myself, I unscrewed the bottom of the lantern to relight the candle, and the glass chimney came loose and the clips holding it fell off. In the dim light from the marina, I was able to get the lantern reassembled and lit, but only after the wind blew the lighter out a half-dozen times. By then my writing pad had disappeared. It had been too long a day on too little sleep.

In the middle of the night, I woke with a throbbing in my forehead, and for some reason it was a struggle to sit up in the cockpit. I discovered the bow line had jammed in the overhead and the falling tide had left the bow, the “foot”of my bed, suspended above the water.

Bishop, spending a night between pilings 12 miles away in Biloxi, had fared much worse. He and a traveling companion in a second boat settled in for the night between pilings under a bathhouse: “About nine o’clock in the evening we passed the Biloxi light-house, and decided, as the night was serene and the waters of the Gulf tranquil, to run under one of the bath-houses, and there enjoy our rest. The piling of some of the piers was destitute of the usual shark barricade, and selecting two of these inviting retreats, we pushed in our boats, moored them to the piles, and were soon fast asleep. About daybreak the weather changed, and the sea came rolling in, pitching us about in the narrow enclosure in a fearful manner. The water had risen so high that we could not get out of our pens; so, climbing into the bath-rooms above, we held on to the bow and stern lines of our boats, endeavoring to keep them from being dashed to pieces against the pilings of the pier. While in this mortifying predicament, expecting each moment to see our faithful little skiffs wrecked most ingloriously in a bath-house, sounds were heard and some men appeared, who, coming to our assistance, proved themselves friends in need. We fished the boats out of the pen with my watch-tackle, and hoisted each one at a time into the bath-house that had covered it.”

I left Long Beach in a northeasterly and worked my way for 5 miles against it to Gulfport Harbor. The tide was still falling, and I dragged LUNA a few boat-lengths up on the hard-packed ash-gray wet sand. I jogged across 200 yards of gently sloped beach and into town to pick up mail at the post office. When I returned to the beach, I saw a man sitting in the sneakbox. I didn’t yell but ran as fast as I could, looping around behind him, to catch him by surprise. He didn’t notice me until I was just a few yards from him. I asked him what he was doing, and he got up. I didn’t see anything in his hands and his pockets appeared empty, so I told him to go away.

I rowed another 13 miles to Biloxi and at the city marina veered southeast to Deer Island, a 3-3⁄4-mile-long sliver of a barrier island set a couple of hundred yards offshore. I landed near a house that was being built on stilts high enough to hide it in the canopy of the long-trunked pine trees. There were stacks of lumber on the sand and pine-needle ground, and there was a wooden ladder to get up to the house. I looked around inside and with all the construction, the only clear space was in what would become the bathroom. I hauled the gear I’d need for the night and settled in. In the mail I’d picked up that morning there was a package from a friend whose mother had sewn a blanket into a sleeping-bag liner. In the shelter of the house and with the extra layer of bedding, I’d have a warm night. I got out of my clothes for the first time in six days.

Sailing wing-and-wing in the navigation channel, I had to peek forward for traffic every once in a while.

It was blowing hard out of the north in the morning, a direction which might have been useful for sailing, but I was leery of pushing my luck in a strong offshore wind, so I rowed back to Biloxi and then across the 1-3⁄4-mile-wide Biloxi Bay to Ocean Springs. I turned southeast and skirted the town, thinking about sailing and keeping a close eye on the wind to see if it would hold steady. I’d waited two days for a northerly reaching breeze. I put ashore on a black muddy beach at Marsh Point and pulled the spars out of the hull through the deck plate in the transom.

Fully decked, LUNA could churn along with her rail under. For such a small boat, she was remarkably seaworthy.

For almost 2,000 miles I had carried the mast, boom, and sprit below decks where their only useful work was to provide a shelf for my foulweather gear. I set the daggerboard on deck and pinned the rudder to the transom. The unmarred varnish of the sailing gear glowed in the soft, shadowless light of heavy overcast. The main and the jib spread out from the spars above LUNA’s cedar deck, and the sails trailed in the wind with the shudder of butterfly wings just emerged from a chrysalis. I slipped LUNA sideways through the shallows while easing the board down. A third of a mile from shore I had 3′ of water, sheeted in, turned LUNA parallel to the shore, and she took off. She made great speed, dragging an enormous noisy wake and occasionally driving the bow under. When the half-lowered daggerboard hit sandy shoals, it hissed like the wheel of a glass cutter.

I sat on the afterdeck mesmerized by the blurred streaks of whitewater around the boat. For two months of rowing, I had been the boat’s engine, and now LUNA had come to life, quivering with the flutter of her daggerboard and charging across the water on her own.

The wind had begun to overpower LUNA, pushing her toward open water, and when I had quickly covered the 5 miles to Bellefontaine Point, I steered into the shallows and luffed, pulled the daggerboard out, and stuck a 6′-long 1×4 I’d found on Deer Island through the trunk and into the sand to keep the boat from drifting. After I brought the rig into the boat, I rowed toward shore. The rain had not stopped since the previous afternoon, and I had gotten cold, even in my slicker with a scarf gasketing the collar.

The Navy’s Aegis Cruisers being built at a Pascagoula shipyard have sweet hulls and forbidding superstructures.

Rowing would warm me up, and in heavy rain I pulled across Pascagoula Bay and past Ingalls Shipyard where Aegis Cruisers were being built for the Navy. A high-pitched whistle in a discordant series of four tones came out of nowhere, so loud that it seemed like tinnitus coming from inside my head. The Navy must have been testing something. A patrol boat had spotted me and got on a bullhorn to tell me to leave.

Just beyond the shipyard I rowed up behind a fisherman at anchor along the shore. He was a bit startled to see me. “Where’d you come from?” When I answered “Pittsburgh,” he started laughing. He’d seen a few other oar and paddle cruisers, but I had come the farthest. I asked him about the post office, and he pointed me to Lake Yazoo, a Y-shaped inlet nearby. There were a lot of sailboats at private docks there, and I picked the one by MIMI, a wooden cutter, to tie up to. Above the pier was a large old house. I rang the doorbell at the water side of the house. No answer. I walked around to the other side and met Andrea, who had been at the front door wondering why the doorbell was ringing after she had peeked in the window.

“I don’t know what you’re doing here,” I said, “but I’ll tell you what I am doing.” And she started laughing at Pittsburgh, too. She drove me to the post office, the grocery, then to her brother’s restaurant for chili, then back to the old house, where we visited Michelle, who lived there with her husband, a son, and parents. Then Andrea took me home to meet her mother and stay as a guest for the night. We sipped sugar-free Kool-Aid while watching Johnny Dangerously on VHS tape.

The following day, I set the rig up on the beach and sailed out through the shallows outside of Lake Yazoo, dragging the rudder in the sand. Once I got to deep water here, 6′ is deep—I set the board halfway down and took off on a broad reach. In 3 miles I rounded the corner below a refinery and hit a submerged sandbar at full speed. If the bottom had been rocky and more abrupt, it would have been a violent, damaging impact. South of the village of Coden I got across Mississippi Sound on a beat, with water flying over the bow. I sat on the windward deck while the breeze was stiff, flying; when it slacked off, I sat in the cockpit.

A line of land appeared as a slender charcoal smear on the east horizon, and I bore away toward its end. I passed the low marshy Isle aux Herbes, and when I got near the 1⁄4-mile-long crescent of Cat Island the wind faded, shifted 180 degrees, then dropped altogether. I dropped the rig and rowed 6 miles to Dauphin Island, arriving at sunset.

I pulled in at the first house I saw with lights on to ask if I could use the phone to make a collect call home, and two couples—Bill and Carole, John and Jeanne—took me out to dinner. I had a seafood platter and gumbo. After dinner, Carole insisted I sleep inside. I brought my bedding in from the boat and set up in the living room. After everyone else turned in I could scarcely breathe. The house was heated to 70 degrees. I gathered up my bed and slept out on the porch.

At the west end of Choctawhatchee Bay I rowed under one of the bridges in the 3-1/2-mile causeway that spans the bay.

My hosts saw me off in the morning, and I rowed off and made the 3-mile crossing between Fort Gaines on Dauphin and Fort Morgan, the two forts that guarded the entrance to Mobile Bay during the Civil War. The sun was bright and the air was still, so I stripped down to air out my clothes and myself as I rowed across Bon Secour Bay. At sundown I rowed into a little condominium harbor just past the entrance to Portage Creek, a 9-mile-long canal, and tied up along a Parti-Kraft pontoon boat with its padded chairs and recessed drink holders.

When Bishop arrived here in February 1875, there was no canal, and as the name of the canal suggests, the creek could only be reached from the west by an overland portage. Bishop hired a farmer for $5 to haul his sneakbox from the end of Bon Secour Bay.

“We travelled slowly through the heavily grassed savannas and the dense forests of yellow pine towards the east, in a line parallel with, and only three miles from, the coast. The four oxen hauled this light load at a snail’s pace, so it was almost noon when we struck Portage Creek near its source, where it was only two feet in width. Following along its bank for a mile, we arrived at the logging-camp of Mr. Childeers. There we found the creek four rods in width, and possessing a depth of fifteen feet of water. The boats were soon launched upon the dark cypress waters of the creek, the cargo carefully stowed, and the voyage resumed. Though the roundabout course through the woods was fully seven miles, a direct line for a canal to connect the Bon Secours and Portage Creek waters would not exceed four miles. About two miles from the logging-camp the stream entered ‘Bay Lalanch,’ from the grassy banks of which alligators slid into the water as we rowed quietly along.”

The row within the walls of the canal the next morning was a welcome change of scenery. Rowing along the coast of Mississippi Sound, I had been too far from land to find any diversion to take my focus off the sluggish labor of rowing into the wind. Halfway through the canal, I passed through the wooded residential outskirts of Gulf Shores, then arrived at the end at Wolf Bay.

I could feel a gentle northwesterly blowing and beached LUNA on the smooth slope of tawny sand to set sail. As I was about to shove off, a tug and barge appeared from around the bend to the west. I was surprised to see the water pull away from the beach like the sudden low tide that precedes a tsunami. I was expecting a surge of water from the barge’s bow wave, but evidently it pulls the water ahead of it to pile up into the wave.

While the wind stayed brisk out of the north and northwest, I made good speed sailing on a reach across Wolf Bay and, 5 miles farther along on the same point of sail, Perdido Bay, where I crossed from Alabama into Florida, and then through the 150-yard-wide gap between Perdido Key and the mainland. The miles continued to slip by, and I crossed Pensacola Bay with dolphins racing beneath the hull, their sleek gray bodies blurred by the water like figures seen through the textured glass of a shower door.

Sailing on the Gulf, sometimes only a mile or more from shore, felt like being at sea, but the water was so shallow that I rarely fully lowered the daggerboard. Its top end is visible here.

I was flying for hours on end and with a good puff of wind, LUNA got on plane and left a wake that would have done an outboard proud. It made me laugh to see that kind of speed. The mainsail took a beautifully clean shape with the sprit to windward. I spent most of the day on the port deck, leaning against the oarlock stanchion, steering with my hands on the tiller lines. At speed there was a lot of pressure on the rudder.

As the sun went down, I headed for the north shore of Santa Rosa Sound, landing at a beach 46 miles from where I’d set out in the morning. It was a new coastal-water record for me. I camped in the boat, happy to be sitting on the sand eating beef stew under the stars.

I woke to frost on the deck again and got rowing in the rose-pink half-light of dawn on a preternaturally still Santa Rosa Bay. The overlapping ripples left by the oars made moiré patterns fanning out from the trail of bubbles in the wake. I frequently watched over my shoulder hoping to catch the first glint of sunlight but missed it. A westerly picked up mid-morning, not the NE that the weatherman predicted. I set sail on a small bit of sandy dredge spoil along the channel. While under sail later that morning, I fiddled with the tarp, to make a spinnaker out of it to take advantage of the tailwind. I raised the tarp along with the jib on its halyard, and the board I had been using as a marsh stake became the spinnaker pole. The extra sail area made a difference, and LUNA took off dragging a water-skier’s wake. In the narrowing east end of the sound, I had to drop the chute to sail on a reach to the next mark a few times, and got pretty good at dousing and resetting it.

By midafternoon I drew near Walton Beach. I hit a shoal at speed and stopped dead, but the wake came up from behind me and lifted LUNA over the hump. I landed at a bit of a beach, where I met Dean as he was working on a boat he sails as advertisement and yacht for a restauranteur. He took me to the post office for mail and to a burger joint for lunch.

I took off again in 15 knots of wind and headed into Choctawhatchee Bay. LUNA speared into waves and ran right through them; water coming over the foredeck poured over the sheer with a long, gravelly roar. To keep the bow up, I shifted my weight aft and rode the afterdeck like a luge racer, looking over my chest at the course ahead. Froth streaking past the transom heaped up white astern. I buried the bow often and slowed down suddenly but avoided broaching or pitchpoling. As I clipped close by Cobbs Point, I saw the amber water brighten over a shoal. The daggerboard, only halfway down to dampen the roll, hit the sand and I pulled it up in its trunk, and the sneakbox skimmed through 8” of water. The boat slowed with the drag of water pinched beneath the hull, the sheets quivered, and the stern wake shortened and crested, milky with the sand stirred up by the rudder.

I enjoyed sailing LUNA so much that I often took advantage of the protected inland waters to sail past sunset into the night.

As I crossed the widest part of the bay, the sun touched the horizon and melted into it. I had sailed 37 miles since morning and had 8 miles to cover before I could go ashore at Four Mile Point on the south side the bay. I sailed through dusk into night until the quarter moon cast the shadow of sprit on mainsail. I held my course by keeping masthead in the Pleiades; Orion stood by alongside the spinnaker as I surfed down waves I could not see. After three hours on the afterdeck, I was straining to keep my head up, and my hands ached from gripping the tiller lines. I would glance at the chart by flashlight while the boat paused at the crest of a wave, checking my position before throwing my weight aft against the fall of the bow into a trough. I dropped the spinnaker as I approached Four Mile Point and turned into its lee. I had covered 48 miles and been underway for about 12 hours when I finally poled along the shallows with an oar and camped in the boat beneath the whisper of wind through the pines above me.

From my camp in the woods of Four Mile Point I rowed past scrubby end of Live Oak Point in a glassy calm. If I squared the blades on the recovery, the invisible vortices of air curling off them left V-shaped trails on the water. I passed a scattering of workboats where oystermen were pulling up their harvest with long-handled tongs that they worked like oversized post-hole diggers. In warm still air I rowed long strokes and let LUNA glide.

At the east end of Choctawhatchee Bay, I entered a crooked 22-mile-long canal flanked with 30′-high white sand walls where high ground had been cut through for the waterway. It was warm in the still air of the canal, and I stripped down to shorts. A big cabin cruiser sped by with its two crewmen bundled in parkas, scarves, and gloves. I stared at them and they stared at me and, baffled by the contrast, none of us spoke or waved.

Late in the afternoon I rowed along a channel that was cut across what used to be the meanders of West Bay Creek, leaving a few quarter-moon islands flanking the main channel. I stopped at the small town of West Bay where I bought a can of root beer and a package of cookies.

The sun had just dropped behind the trees when I reached West Bay, an 8-mile-wide hourglass part of the inland waters surrounding Panama City. Cormorants crowded atop the channel markers dropped from their perches as I approached and hit the water running before they could take flight. The surface of the water glowed like molten metal, reflecting the blaze in the evening clouds. The fins of dolphins cut dark streaks across the sneakbox’s wake. They surfaced around LUNA just out of oars reach, close enough for me to see their small dark eyes tucked beneath the domes of their foreheads.

Had there been the slightest touch of wind, I would have been off the water by dark, but the lights of Panama City, 8 miles away, streaked the bay with white and red lights and silhouetted the obstructions ahead of me. I could even see the buoys of crab pots. I kept to the shallows, away from the erratic courses of oyster dredges still working the middle of the bay in the dark.

I reached Panama City late that night, at the end of a day’s row of 47 miles, and passed by the concrete-walled Dyers Point and entered the marina at Buena Vista. Under the harsh pale-orange sodium-vapor light buzzing at the end of a pier, I centered LUNA under a line between two pilings. I started singing the “Hallelujah Chorus” from Handel’s Messiah, and a half-dozen dolphins surfaced astern and then moved up on either side just beyond the ends of the oars. Their heads and fins were silhouetted in a reflection of the sky that was amber as white sand under tannin-stained swamp water. When I started in on “Home on the Range,” I lost my audience.

Many of the beaches in the urban areas of the Gulf Coast are made of sand pumped ashore. This natural beach near Panama City, unfrequented by tourists, had lots of shells and was much more interesting.

In the wee hours of the morning, I woke up and noticed that a black skimmer was fishing the water around my boat, flying with the lower half of its beak at an almost vertical angle, making a slender wake. Its shoulders were angled above its head to get the clearance for its wingtips and, in time with the beating of its wings, the sound the beak made was like the pulsating hiss of a pressure cooker with its weight rocking on the vent. The bird came back and, like a crop-duster, made each new furrow parallel to the last. I didn’t see it catch anything.

The canal was conceived in the early 1800s but wasn’t dug until after Bishop’s voyage. We rowed to Cape San Blas and had a 1/3-mile portage over the narrow peninsula there. It was a long climb to put my camera, tripod, and radio remote at the top of the cut; excavating the high ground to make canal must have been an extraordinary feat.

From Panama City, the ICW runs the length of East Bay and enters a 21-mile canal cut through land that was marked on the chart, from west to east, as Low swampy area, Swampy area, Cypress swamp, and, finally, Impenetrable swamp. I camped in the west end of the swamp to make sure I’d get through the rest of it before dark. When I got under way early the next morning, I passed two fishermen aboard a sparkling purple metal-flake hull with green artificial-turf decks at sheer level. They were slouched in chairs that looked out of place without office desks; they swiveled like gun turrets keeping their eyes trained upon me as I rowed by.

The farther I progressed into the canal, the closer together the cypress trees grew. Here in the “Impenetrable swamp,” it was true anyone would be hard pressed to travel far on foot.

“I’d have me a motor on that thing,” one of them said. He had a motor on each end of his boat, a skinny chrome-pipe trolling motor on the bow and a white-and-blue outboard on the stern with a mushroom-shaped power head as big as a washtub.

The “Impenetrable swamp” indicated on the chart turned out to be only as menacing as I could make it.

I found a loose cypress knee that was just big enough to wear after I scraped out the mud-wasp nest inside it. At the time, it had slipped my mind that there might be alligators in the area.

I reached the impenetrable part of the swamp where the trees had woven their roots and branches together into a barrier so dense that even sound couldn’t get far into it before its echo retreated to the waterway.

I crossed Lake Wimico late in the day, but the rowing conditions were ideal and I continued rowing until well after dark.

I came out of the confines of the swamp at Lake Wimico and reached the Jackson River at the opposite end of the 5-mile-long lake by nightfall. With only the light of the stars I could see the course of the river if I looked toward the banks and at best could see the pale streak of the water with my peripheral vision. Soon I felt the pull of the tide drawing me toward Apalachicola Bay. Sitting on the afterdeck, I let LUNA drift in mid-channel while I set the stove in the cockpit and heated up a dinner of canned beef stew. It was quite late, well after 9 p.m., when I reached the harbor of Apalachicola. The amplified squeal of an electric guitar, played by someone in town with more watts than talent, soured the night air with a miasma of sound.

After spending more than two months aboard LUNA, I got used to sleeping aboard, even with the hatch cover in place. There was only 14” of space between the hull and the cover, so it wasn’t for the claustrophobic. When Captain Hazelton Seaman of West Creek, New Jersey, built the first sneakbox in 1836, he called it the Devil’s Coffin. It does have that feeling when the lid is on.

I found an inlet with a pair of pilings I could tether the boat between, and settled into the boat with the hatch cover slightly propped up over the cockpit coaming against the chance of rain in the forecast.

In the gray drizzly morning of January 18th, I rowed the last of the Intracoastal Waterway past riverside business district of Apalachicola and across the 4-1⁄2 miles of East Bay to Eastpoint, an oyster town that had been gutted by hurricanes earlier in the winter. The backs of the oyster-shucking houses had been torn open by the wind and storm surge, and their walls and interiors had spilled over the mounds of shells along the shore. Eight miles up the coast at Royal Bluff, tattered clothing washed ashore by the hurricane and anchored in the sand at the water’s edge swayed like seaweed in the back-and-forth wash of the waves.

I made a stop in Carabelle to find a hardware store where I could buy an anchor. I had a lot of open water ahead, and an anchor would be my insurance against being driven into open water by an offshore wind. From where I came ashore for the night, I could see Dog Island, 4 miles from the mainland across Saint George Sound, as a black wisp of an edge on the horizon to the southwest. It was the last of the barrier islands, and beyond it I’d be on the wide Gulf of Mexico. At nightfall, I settled in the cockpit with a candle lantern I’d made from a soup can hung from the coaming.

The next day, I sailed with a stiff wind gusting southwesterly between the surf-whitened shoals off Turkey Point and Alligator Point, and rounded Southwest Cape to head north into the sheltered waters of Ochlockonee Bay. Turning at the cape I trimmed the sheets from a run to a close reach, and the sneakbox strained uneasily under the increased pressure of the wind. I let the sheets fly and dropped anchor. The bow came quickly into the wind as the blunt but heavy cast-iron flukes of the anchor I’d just bought bit into the sand bottom. With the rig dropped and secured on deck, I brought up the anchor and rowed hard for the safety of the lee and then crossed the bay to call it a day at the easternmost of five artificial inlets that had been cut to make a condominium community.

I rowed out from Ochlockonee Bay before sunrise on the morning of January 20th. I was a bit worried about what I had ahead of me—Florida’s Big Bend where the state’s panhandle turns into the peninsula, over 50 miles of uninhabited coastline with a mile-wide fringe of marsh backed by swampland with cypress trees as dense as fence pickets.

Bishop, apparently, never sailed during his voyage. I think he missed some the best the Gulf had to offer.

A northwesterly breeze darkened the waters of Apalachee Bay, and I stowed the oars on deck and stepped the mast. The main and jib unfurled to catch the cool breeze and the warm light of the morning. I headed for the farthest point of land I could see and held my course almost 2 miles offshore to keep enough water below the daggerboard. I made good speed past the tapered white tower of the St. Marks Lighthouse, the only landmark at the apex of the bay. For 20 miles beyond it, the coast had no distinguishing features that I could use to determine my location. The marsh and the cypress forest of the swamp was a stripe of dark green and black where every mile looked exactly like the miles that came before it. The wind veered around behind me, and I set the tarp-spinnaker. The breeze held through the morning, and the miles streaked beneath the hull of the LUNA as I began to turn southward by slow degrees.

Even with the sprit (seen here at the bottom) removed and the mainsail folded in half—“scandalized”—LUNA made good speed.

Some 30 miles into the day’s sail, I picked out two clumps of trees 1⁄2 mile from shore that were the twin Rock Islands, brought them abeam, and left the below the horizon astern. As the breeze backed and came out of the west and my course turned from east to south, I pivoted the marsh-stake/spinnaker pole over the bow and set the tarp to pull on a broad reach. In the late afternoon the breeze stiffened and came over the starboard beam. I dropped the chute and a while later pulled the sprit from the main and folded the peak down, reducing its sail area by more than half. Even with the shortened rig, I reached along at a good speed.

Late in the afternoon LUNA was back under jib and full main, and I continued along the coast. When the sun dropped behind the sweeping horizon of the Gulf, I sailed by moonlight. After 52 miles under way, I headed toward shore on the reflected light of the town of Keaton Beach. I had sailed the Big Bend nonstop in one go.

I landed on a beach in front of a restaurant, having used the reflections of its lights to find a clear path to shore. The smells coming out of the restaurant drew me inside just as its lights had brought me in from the water. After dinner I rowed into a canal on the other side of the town and spent the night in the boat.

Bishop noted in his book that his sneakbox, CENTENNIAL REPUBLIC, had been built to sail: “with spars, sail, oars, rudder, anchor, cushions, blankets, cooking-kit, and double-barrelled gun, with ammunition securely locked under the hatch, the Centennial Republic, my future travelling companion, was ready by the middle of November for the descent of the western rivers to the Gulf of Mexico.” And yet he made no mention of sailing at any time during his voyage. During my one-day passage around Big Bend, I passed by four of the campsites he wrote about and landed a fraction of a mile from his fifth. While I only sailed about 200 of the 2,400 miles I traveled, I would have happily carried the rig for just that one day at Big Bend and those 52 miles.

The last two days of my voyage were serenely quiet. Even though I was rowing and didn’t need deep water for sailing, I stayed well over a mile offshore just to be in waist-deep water.

To take the “selfie” above I only had to set the tripod in the 3’-deep water and trip the shutter with a radio remote.

The wind faltered the next day as I made my way south from Keaton Beach across Deadman Bay. Large flat-iron skiffs planed across the bay. Their skippers stood in the bows to see their way through the shallows, giving their craft the look of aquatic minotaurs. Gray tracks of sand crisscrossed the eelgrass-covered shoals where their outboards dragged along the bottom. I stopped for the night in the shelter of one of the many manmade inlets of the town of Horseshoe Beach.

Bishop wrote of the last night of his voyage in 1875: “Lying there under the tender sky, lighted with myriads of glittering stars, a soft gleam of light stretched like a golden band along the water until it was lost in the line of the horizon. Beyond it all was darkness. It seemed to be the path I had taken, the course of my faithful boat. Back in the darkness were the ice-cakes of the Ohio, the various dangers I had encountered. All I could see was the band of shining light, the bright end of the voyage.”

In the glassy calm of January 23, I rowed to the mouth of the Suwanee River and  passed Bradford Island, where Bishop had spent the last night of the voyage he chronicled in Four Months in a Sneak-Box. A year earlier, in 1875, he had emerged from the Suwanee in his paper canoe at the end of his 2,500-mile voyage from Quebec, just as I had in 1984 in my own paper canoe, which I paddled along the route Bishop had described in Voyage of the Paper Canoe.

On the last day I rowed to Cedar Key in flat water. To get this photo in the pre-drone era, I secured my 35mm SLR to the sprit and raised the sprit alongside the mast. For the image here I blended two slide scans in Photoshop to remove the spars.

I took the first step on the path that brought me to this beach in the summer of 1982 when I read a magazine article about Nathaniel Holmes Bishop. I followed that path for four years, built two boats, and paddled, rowed, and sailed nearly 5,000 miles in his wake.

The spider-like water tower of Cedar Key soon rose from the last horizon I would row LUNA to. I threaded my way through the maze of reefs and islets of Suwanee Sound to a beach on the south shore of Cedar Key, where I’d mark the end of my 2,400-mile voyage. In the cool of the afternoon, the moon and sun balanced in the east and west, the sneakbox LUNA coasted to a stop. I stepped ashore quietly with a years-long dream fulfilled.

Epilogue:

In January of 1984, in Toms River, New Jersey, I caught up with Nathaniel Holmes Bishop III (1837 to 1902) after completing my 2,500-mile retracing of his Voyage of the Paper Canoe. In 1990, my son was born and named Nathan in remembrance of the man I had followed for almost 5,000 miles.

Christopher Cunningham is the editor of Small Boats.

If you have an interesting story to tell about your adventures with a small boat, please email us a brief outline and a few photos.

SEA BESTIA

Winters in Scotland are long, and the days are short and often dreary. Months stretch into seemingly endless semi-darkness, and it’s all too easy to slump into boredom. Dan Loveridge and his two friends, Jacques and Juan, have a way of avoiding the malaise: an annual Christmas Challenge. Two years ago, Dan won a fancy-dress challenge with a Bender Robot costume and a Bumblebee Transformer costume for two of his daughters, as well as an Oscar-the-Grouch costume for himself. Last winter, the challenge was to make something from small stirring sticks, and he won again with a fully articulated model excavator.

Marie Loveridge

Dan had a good feeling about SEA BESTIA’s potential to be dangerously fast and take first place in the big race.

In the fall of 2022, one of the three friends mentioned building a boat and holding a Christmas Day regatta. Dan liked the suggestion. Originally from New Zealand, he grew up on the Bay of Islands surrounded by boats and always on the water, but he had never built a boat. Discussions centered around keeping costs down when someone mentioned the article in Small Boats about Riley Hall’s AVANTI, a diminutive outboard powerboat built from one sheet of plywood. “AVANTI really set the wheels in motion,” Dan says, “and she became the go-to example during our debates on how to proceed.”

Dan Loveridge

All of the pieces for SEA BESTIA’s deep-V hull were cut from a single sheet of 5mm plywood. The deck and cockpit required a second sheet.

Ultimately, the rules of the 2022 Christmas Challenge stipulated “one sheet of plywood, no more than £50 for an engine, and whatever else you could beg, steal, or borrow,” says Dan. “The rules were never set in concrete, and it led to heated and entertaining debate: basically, it was me seeing how far I could push the boundaries, and the other two altering the rules to stop me.

“At home,” Dan says, “I’d sit and doodle, and run calculations, and little by little I formed an idea.” He made a rough scale model and proved that he could get a beam of 1m and still have sides wide enough to provide good freeboard. Next came a computer-drawn scale model and then, although the design was “seat-of-the-pants stuff rather than carefully calculated,” Dan bought two sheets of 5mm non-marine-grade plywood.

Dan Loveridge

Power is supplied by a 3.9-hp Archimedes, a 1970s-vintage outboard made by Volvo Penta in Sweden.

Dan would use one sheet for the hull and the other for the deck and coaming. “I was determined to have style at all costs,” he says, “I’d let the lawyers argue the case after the event.” After drawing his pattern on the plywood and cutting it out, Dan found that he had to trim the panels to get the two sides to meet at the bow. He also made some adjustments to the sheer. “At first it looked very much like a banana while I wanted it to look like a tiny scarab-style speedboat. It took a few more alterations to get it right.”

When Dan shipped out for work, he’d be away from the project two weeks at a time. And at home, when he didn’t have family commitments, the weather was not on his side. “The entire build took place in subfreezing temperatures in a breezy workshop that I had to throw up just to build the boat. I bought a secondhand woodstove to get the shop warm enough for the resin and paint to cure.”

 

Dan Loveridge

The shark’s mouth, the number 23, and the name, SEA BESTIA, are all to honor Enea Bastianini, aka La Bestia (The Beast),  Dan’s favorite Grand Prix motorcycle racer. The silver fern is a symbol of Dan’s New Zealand homeland.

Once the hull and deck were assembled and the plywood sealed with epoxy, Dan was eager to see how the boat floated. He and his friends and family carried it to a water trough in a nearby paddock. They chopped away the thick ice and set the boat in the water. With trepidation, Dan clambered aboard and was pleased to discover it was no more tippy than a canoe.

Back at the shop, he applied a layer of ’glass cloth with polyester resin. “I’d already used most of the epoxy resin and had bought the polyester by mistake. But time was pressing, and there was no time to get something else.” Dan also didn’t have time to get fairing compound on the deck and coaming, so the taped seams there are still visible. “At some point,” he says, “I’ll do it properly.”

Dan applied several quick coats of spray paint then added homemade decals, printed on paper that he lacquered on both sides to make it waterproof. The decals include the shark’s mouth like one used by his favorite motorcycle racers (and originally on Curtis P-40 Warhawks,  American WWII attack aircraft), silver ferns (symbols of his New Zealand homeland), and in racing-boat style, a sponsor decal for his materials supplier.

Courtesy of Dan Loveridge

The half-century-old outboard wasn’t what it once was and didn’t give Dan the win. On the bright side, he couldn’t go so fast that he would need to wear his helmet.

As the challenge rules did not permit pre-race trials, SEA BESTIA was launched on Christmas Day in front of both his fellow contestants and a crowd of excited onlookers. The day was calm, and Dan was pleased that SEA BESTIA sat well in the water, but when he climbed aboard he was dismayed that, despite the findings in the water-trough trials, she was extremely tender. He had built a fore-and-aft bench amidships so that he could adjust the trim while underway, but to start the vintage outboard he had to face the stern. The engine had no neutral and once it was fired up, SEA BESTIA was underway and to see forward, Dan had to turn around while dealing with the instability and the obstacle of the seat.

Eventually, once he had managed the maneuver, Dan moved forward a little, cranked on the throttle and SEA BESTIA took off. “She was quickly at speed and stable as a rock!” But then the outboard died. Dan restarted it and it ran for a few minutes but died again. He never got a chance to fully open the throttle or run long enough to see how she handled at speed.

Courtesy of Dan Loveridge

Jacques built his boat with a single sheet of plywood, as required by the rules. His creation incorporated twin hulls formed with plywood frames and bedsheets stiffened with fiberglass cloth and soaked in resin. Expanding foam in the bows gave extra strength and flotation. It may not have looked beautiful but it stayed afloat and won the day.

And Dan wasn’t alone in his troubles. Jacques and Juan were also coming to grips with their newly launched vessels. Dan recalls: “Jacques had built a marvelous device. He’d used his sheet of plywood to make frames for a catamaran. Then he took some bedsheets, covered them in fiberglass and resin, and made the hull panels. He sealed the bow with a liberal use of expanding foam and hospital corners. It looked horrific, but with a borrowed Honda 2.3-hp outboard, it performed flawlessly, slow and stable…the winning formula.

Courtesy of Dan Loveridge

Having rammed Juan, Dan did his best to get him to shore. When his own engine died, the two boats drifted the rest of the way to the dockside. Coincidentally, while Dan had decorated SEA BESTIA with an image from an American WWII plane, Juan had adorned his boat with the WWII-era RAF Type A roundel.

“Juan had decided to copy AVANTI, but it was a rough copy and initially quite unstable. We added sponsons to try to make it safe. We all predicted it would sink, which it did, albeit not on its own: I accidentally rammed it and towed it backward until it partially sank. It wasn’t entirely my fault, as it happened when I was turning around after starting the engine and I veered off course and straight into Juan. He couldn’t get out of the way because he’d hit a rock, sheared off his propeller, and was dead in the water. Then my engine died, and we drifted away as he slowly sank. We made it to the far side of the harbor where Jacques rescued me and towed SEA BESTIA back to the onshore support crew for engine repairs. Juan scrambled out onto a fishing boat, and the crew helped him drag his boat up onto the dock and into retirement. I did get out again, but the outboard kept breaking down and I was finally towed in and quit.

Courtesy of Dan Loveridge

Juan, decked out for Christmas in a festive paper crown, clings to the line that is keeping his boat from sinking. Moments later, the support crew would help pull the stricken vessel up onto the hard, but its racing days were over.

“So, Jacques won the day: He had produced the only fully working package, although I think he should have been disqualified because his outboard was definitely not a £50 model. But then, Juan and I had both used more than one sheet of plywood, so perhaps the best man won. It was a great day, farcical but immensely fun.”

Next year, the crew will be out on the water again, and 2024 entries will be shop-bought or home-made radio-controlled boats with a budget of £50.

 

Dan Loveridge

Click on the picture above for Dan’s plans for a paper model of SEA BESTIA that can be printed, cut out, and assembled.

Do you have a boat with an interesting story? Please email us. We’d like to hear about it and share it with other Small Boats Magazine readers.

A DIY Hammock Chair

Here’s a luxurious recliner you can take on your next camping trip. It is wonderfully supportive, perfectly comfortable, small to stow, relatively easy to make, and looks more polished than just about anything you can buy. The canvas and cordage skills you’ll use making it can extend to other kinds of hammocks and small-boat accessories. Your biggest challenge will be clearing your companions out of the chair when you want to sit in it.

Materials:

1-1⁄4 yards of roughly 60″-wide canvas. (For chairs that will stay outdoors at home year-round I use Sunbrella.)
28 #0 spur grommets
About 200′ of paracord
16′ of 3⁄8″ three-strand nylon line
Two 2″ D-rings
One 2″ round ring
A stick of wood roughly 2″ × 4″ × 38″
Heavy-duty sewing-machine thread
High-loft polyester batting 23″ × 40″

Tools:

Sewing machine
Scissors or rotary cutter
Grommet hole punch and setting die

Start with the body of the chair. The finished article is 41″ x 24″ with 14 evenly spaced grommets on each long side. The body can be as simple as a single layer of canvas cut to 43″ x 30″. The double-fold hems on the long sides must be 1-1⁄2″ wide. The resulting three layers work best with the grommets. Fold 1-1⁄2″ in on each long side, then fold this over again. For the short sides make a 1⁄2″ double-folded hem. For the simple version, skip the next two paragraphs and resume with the one that follows them.

Photographs by the author

The “Cadillac” version, which is made of two layers of fabric with batting in between, starts with two pieces of fabric cut to an overall dimension of 27″ x 42″. With single-fold hems—½″ on the ends and 1-1/2″ on the sides—the finished size will be 24″ x 41″.

For the “Cadillac” option, two layers of canvas with soft polyester batting in between them, cut two pieces of canvas at 42″ x 27″. On each piece, fold a 1-1⁄2″ single-fold hem on the long sides and a 1⁄2″ single-fold hem on the short sides. Hold the hems with double-sided seam-stick tape or sewing clips.

The batting is cut to fit within the hems.

A 40″ x 23″ piece of batting should fit 1⁄2″ from the outside perimeter of the hemmed fabric. Sandwich this batting between the two canvas pieces with the hems facing inward; be sure no batting overlaps the hems. Secure the edges with tape or clips, then sew around the perimeter of the rectangle using the longest straight stitch your machine can make. Sew additional lines 1-1⁄4″ in from the long sides to capture the 1-1⁄2″ hems inside. The body of the chair should be quilted to hold the batting in place. For the chair pictured here, I did just three horizontal lines of stitching, but you can decorate your chair with quilting in a pattern of your choice.

After the two layers of fabric are sewn together, grommets are installed. The three lines of stitching in the middle hold the batting in place.

Layout for grommets: Make a mark in the center of the long-side hem 1″ in from the end of the chair. Continue to mark every 3″ until you have 14 evenly spaced marks along each long side. Punch holes and set grommets. The chair body is complete.

Each grommet will anchor a loop of line called a nettle, and all of the nettles hang from a D-ring on each side and are woven into sword-mat clew knots. It may look far more complicated than it is; with the jig (described below) I can weave one in 10 minutes.

Screws driven into a wood panel create the jig for making the suspension system for the hammock chair.

The jig is made from a piece of plywood, particle board, or other sheet material roughly 40″ x 24″ and thick enough to hold screws. Draw a vertical line down the center of the sheet. Make a mark about 6″ above the bottom of the board to locate the intersection of the back and the seat. Subsequent measurements will be made from this point. Mark 34″ up from the intersection for the screw that will hold the D-ring.

Draw a line to the left of the intersection at 72 degrees from the vertical. Measure 1″ along this line from the intersection and mark for the first screw. Proceed outward along the line, placing marks at 2″ intervals for five more screws. Draw a line to the right of the intersection at 36 degrees from the vertical. Measure 1-1⁄2″ along this line from the intersection and mark the location of the lowest screw for the backrest. Proceed along the line, marking 2-1⁄4″ intervals for seven more screws. Drive screws on all of the marks, leaving enough of the screw proud to catch a bight of paracord. Your jig is complete.

 

Begin the clew by hanging a D-ring flat-side down on the uppermost screw of your jig. Place the paracord coil or spool to the left side of the jig, then pull the line to the right to a point about 5′ past the D-ring. Make this line fast. Now, pull a bight of line through the D-ring—in the front and out the back—and loop it over the rightmost screw.

The cord coming off the spool is looped around the second screw. A bight is then made in the cord between the screw and the spool and inserted through the D-ring, as before, from front to back.

Take the line running from the D-ring to the coil and loop that over the next screw. Pull a new bight of line through the D-ring, again from front to back, and loop it over the next screw.

The process is repeated until all the screws have been looped by the cord. The line at the left, coming off the spool, will be inserted through the D-ring and cut to have an end 5′ from the D-ring.

Repeat until all screws have a bight of line on them. Cut the cord off the coil, leaving 5′ beyond the D-ring.

The two 5′ ends of the cord are inserted through the space created by the nettles under the D-ring.

Pass each bitter end under the D-ring through the space between the lines in the front and the lines in the back. There is no need to haul the lines tight at this point, just keep things snug.

A dowel is woven through the nettles pulling the nettles at the back forward while pressing the nettles at the front to the back.

Cut a dowel about as wide as the jig and put a smooth point on one end. Starting at one side of the nettles, pick up the nettles that are at the back and push down the bights that are at the front. It’s easier to sort the nettles out low on the jig where the nettles are apart from each other, then slide the dowel up to the D-ring for weaving the clew. Pass the bitter ends through the space under the dowel.

The cords are slipped through the space above the dowel.

Slide the dowel out, then re-thread it across the nettles to pick up those that are now at the back and push back those that are now at the front. Skip the nettle at each end this time and pass the bitter ends along the stick in the space beneath it.

The process is repeated, skipping the outermost pair of nettles with each weaving of the dowel.

Repeat this process, dropping the outer nettle with each course. When you are down to the last bight, go back through your work tightening each line to harden up the weave.

A pair of needle-nose pliers helps tighten the woven cords.

I find smooth-jawed needle-nose pliers helpful here.

Tying the cords in a square knot finishes the weave.

Once the weaving is tight, tie a tight square knot, cut the lines, and melt the ends to prevent fraying and keep the knot tied.

The ends of the cords are cut close to the square knot and then melted against the knot to prevent fraying and keep the knot from untying itself.

Your first clew is complete; repeat the process to weave the second clew.

The nettles are slipped through the grommets and a thicker line is slipped through the bights.

To connect each clew to the chair body, pass the nettles, in order, through the grommets on one side of the chair, then a length of 3⁄8″ line through all the loops at the ends of the nettles. Tie a stopper knot in each end of the 3⁄8″ line, cut it short, and melt the ends. Repeat for the other side. The 3⁄8″ lines will be on the outside of the chair when you sit in it.

A spreader holds the D-rings apart.

To hold the D-rings apart, I make a 40″ stretcher from whatever wood is lying around the shop, and shape 1″-long shouldered tenons on the ends to slide into the D-rings.

A 6′ length of line connects the D-rings with a circular ring at the top. Here the ends are spliced. They may also be tied with bowlines for a quicker though not-so-elegant finish.

To connect the D-rings to the round ring, fold a 6′ length of 3⁄8″ line in half, then cow-hitch this midpoint to the round ring. Splice or tie each end to a D-ring so that each leg of the line is 24″ long.

The chair is quite strong and can hold an adult, a child, and a storybook.

Your chair is complete! Good luck keeping everyone out of it.

James Kealey lives and teaches in Richmond, California. When he’s not chasing his two young sons, he can usually be found banging away on some project in his garage workshop. In high school, he rowed in racing shells. He still gets away most summers for sail-camping trips on mountain lakes.

Editor’s Notes:

While my small-boat cruises have taken me to a lot of interesting out-of-the-way places, only one of them has had a place to sit that was as comfortable as my living-room sofa: a recliner someone had left on the Kentucky side of the Ohio River. I hadn’t imagined that there could be a chair that I might carry aboard a boat as small as my sneakbox that would be every bit as luxurious.

James’s hammock chair looked like it would offer a way to relax and take in the scenery, so I set out to make one for myself. I had a piece of heavy canvas, just enough for a single-layer chair without batting, and plenty of rope and wood for the bridle and spreader. I didn’t have enough paracord or the small spur grommets and the tools to install them. I found online a 500′ spool of 1⁄8″ solid braid nylon cord at a good price. It was more than enough for one or even two chairs, but I always have a use for that cord for boats, camps, and around the house. I bought stainless-steel 2-3⁄8″ D-rings and a stainless 1-1⁄2″ round ring for a few bucks, but nickel-plated steel rings are cheaper. To avoid the cost of the grommets and the tools they require, I used strips of 2″ nylon webbing. (I also tested the webbing of an old ratchet strap and it would have worked, too.) A Swedish fid can open holes for the nettles without significantly damaging the webbing. After the fid is removed, the webbing will close around the nettle and won’t open up or distort when a load is put on it.

Strips of 2″ webbing are sewn overlapping the single-fold hem on the long sides of the chair body. The webbing ends, cut with a hot knife to prevent fraying, are tucked in the second fold of the double-fold hems of the ends of the chair body.

A second screw keeps the D-ring from being pulled to the side by the nettles as they are looped through it.

A pair of 1⁄8″ dowels help thread the ends of the cord along the dowel that holds the nettles. The two screws to the side of the D-ring keep the cord from getting mixed up with the nettles.

As the weaving progresses, an outside pair of nettles gets skipped for the next weave. Taping those pairs away from the rest of the nettles helps keep track of which nettles go where.

Be sure to ensure the square knot won’t untie itself. Either melt the cut ends to the body of the knot or leave the tail ends of the cord long and whip the ends together, perhaps to the center nettle. I had only melted the ends and the square knot shook itself out and the weave came undone. To reweave it, I’ll hang the chair and put some weight in it to tension the nettles. That will save having to rebuild the board with the screws.

The hole for each nettle is opened gently with a Swedish fid, right next to the canvas. Pencil marks on the canvas indicate where each hole goes.

Needle-nose pliers poke the bight of the nettle along the hollow in the fid and through the hole in the webbing.

The pliers pull the nettle through.

The chair, like a hammock, feels cool on my back, so the batting in James’s double-layer Cadillac version is a good idea for cool weather. I can use a blanket or a foam pad on top of my single-layer chair if I need some insulation.

The comfort of the chair and its swinging are very conducive to relaxing, even napping, but having some head support would be a welcome addition. I can tuck a throw pillow between the chair and my back to serve as a headrest or put it against the nettles on one side, but if I make a second chair (and I very well might) I’d make the back 9″ taller with the addition of three more nettles at the same 3″ spacing. That would require another 20′ of cord, 85′ on each side instead of 75′.

The hammock chair is so pleasant to sit in that it now spends its non-cruising time in the rec room.

The chair exceeded my expectations for comfort and made the project well worth doing.

You can share your tips and tricks of the trade with other Small Boats Magazine readers by sending us an email.