Over the years, we have used small marine batteries for trolling motors, cold-cranking our outboard motors, and powering onboard electrical systems. Our experience with basic battery chargers has been disappointing, with unexpectedly dead batteries leading to canceled or postponed trips. Recently, we switched to a smart, onboard, marine battery tender and have been very pleased with the reliable performance of our batteries.
Batteries for small boats may be used for just a few days and then stored for extended periods, so it is essential to have a system to maintain the batteries’ charge during storage. An ordinary battery charger charges at a high rate—whether the battery needs it or not—which can sometimes damage it. But a smart battery tender assesses the battery charge state and varies its charging modes to provide the proper level of charge. Most chargers are not designed to be used in the wet marine environment, which means charging the battery only when the boat is in dry storage or by removing the battery from the boat to charge it in a dry location. Some chargers are also large, generate excessive heat, and are not suitable to be kept aboard the boat and carried afloat, while well-designed battery tenders are compact and charge at a slower rate and lower temperature. Some chargers have to be disconnected when the battery is fully charged, then reconnected after the charge level drops while a good battery tender can be left connected for extended periods, and extend the life of expensive marine batteries.
For the past year, we’ve had a ProMariner ProSport HD6 installed aboard our vintage Sorg 15 runabout to maintain the 12-volt battery we use for powering the electric start on the outboard, running lights, USB port, and automatic bilge pump. The ProSport HD6 is a heavy-duty 6-amp tender that will charge one 12-volt battery. There are also tenders available in ProMariner’s same series of chargers to manage a bank of batteries with a pair of charging wires for each battery whether they are separate, in series, or in parallel.
The HD6 has a button to select use with flooded-lead, absorbed-glass-mat (AGM), or gel batteries. It is compact, designed for onboard use in the marine environment, shock resistant, and waterproof to the IP67 standard: a 30-minute submersion at 1 meter. After a day on the water, we can plug the HD6 into the shore power on our dock and forget about it; the lower charge rates and tri-surface heat sinks minimize the concern we previously had about leaving a hot charger in a wooden boat.
The feature of our HD6 that we appreciate most is the LED display, which provides information on charging modes, battery status, and charge completion status. The digital tender operates through five stages of charging: analyzing battery status, charging and conditioning, auto-maintain, and a pulsed mode for storage recondition. These stages are indicated by mode lights on the tender: a blue pulse for Analyze, red for Charging, amber for Conditioning, green for Auto Maintain, and green pulse for Storage Recondition. The tender has a green light to indicate a full battery and a red light for a fault condition—reverse polarity, poor connections, or high or low voltage. Progress of charging is also shown in 20-percent increments. Two additional features are an AC input power light and System Check OK light.
The HD6 was easy to install and is intuitive to operate, and it has saved the purchase price of at least one replacement battery so far. It has reliably ensured that our battery was topped up and ready for use, even after our annual extended hurricane-season boat storage.
Audrey and Kent Lewis have changed homeports from Florida to Virginia, and are planning future messabouts in the Tidewater region in their armada of small boats, which includes their vintage 1959 Sorg 15 lapstrake runabout, WILLOW.
I bought my first Japanese tool in the late 1970s shortly after I started building boats. It was a kataba saw that I had purchased at Toshiro’s Hardware in Seattle’s International District. The store’s owner, Frank Toshiro, asked me what kind of woodworking I was doing—I told him boatbuilding—and if I had used Japanese saws before. When I said I hadn’t, he took from the display case a slender saw with a straight stick-like handle and a rectangular fine-toothed blade. He put a piece of 1×2 pine on top of the counter and sawed an inch off the end. I was already impressed by how quickly and cleanly the saw cut, but then he took the piece that he had just sawn off and pressed it back on the end of the 1×2. It stayed there. The two sides of the cut were so smooth that air couldn’t get between the pieces and a partial vacuum held them together. That sold me on the saw and, over the years that followed, I bought more saws, sharpening stones, and my favorite chisel, a Kote Nomi crank-neck with a laminated blade that took a razor-sharp edge.
The Japanese tools looked different and often worked in different ways, but they always took very sharp edges and were easy to use. My two most recent purchases have been no exception. They are natas, outdoor tools that look like short machetes but are used as hatchets. I have a 165mm single-bevel nata from Kakuri and a 240mm double-bevel nata from Silky.
The Kakuri nata is made in the traditional form. It has a short tang pinned in a 7″ oak handle; a steel ring around the throat pinches the two parts together. The 165mm (6-1/2″) blade is made of 1/4″ steel, and the tool has an overall length of 14″ and weighs 1 lb 3.6 oz. It has a single bevel for a right-hander. The single bevel is favored by arborists, and used with the flat side next to the trunk when trimming branches. That worked quite well for doing a neat job pruning the pear trees in my yard, though I was interested in the single bevel for using the nata like a drawknife.
The listing on Amazon, where I bought the Kakuri, says only that the blade is made of “top grade Yasuki steel,” a reference to a city in Japan with a long history of producing steel from local iron sands, steel that was used for traditional Japanese swords. Faint lines on the nata’s blade suggested that it was laminated, with the edge ground into a different piece of steel measuring 1″ wide and 1/16″ thick. The only confirmation of a laminated blade are the characters stamped on the side—鋼付—hagane-tsuke or “with steel,” indicating that the mild-steel body of the blade has a high-grade steel for the edge. That steel can take a very sharp edge and hold it well. The Kakuri nata was quite sharp straight from the manufacturer, and a bit of stropping made it sharp enough to slice through paper held on edge. The steel was durable enough to stay that sharp after doing some chopping and splitting.
Silky’s Nata 240 is a contemporary tool with a 240mm (9-1/2″) blade of 7/32″ SKS-51 steel (listed as stainless but strongly magnetic); the overall length is 16-3/4″ and it weighs 1 lb 9.9 oz. Mine has a double bevel; a single right-hand bevel is available from some outlets, but Silky no longer makes it. The Silky has a full-tang handle with a two-piece rubber grip that is removable so the blade can be replaced without having to purchase a new handle and sheath.
The Silky comes with a sharp edge and can be stropped to pass a paper-cutting test. It still was able to cut paper on the edge after doing a bit of chopping and splitting, though not as cleanly.
I took both natas into the woods and used them on some maple and red cedar windfalls. They were impressive chopping tools. On one 2 ½” cedar branch, both got through with four strokes in a matter of seconds. Using the natas in drawknife fashion made it easy to strip bark; the Silky’s double-bevel blade worked just as well as the Kakuri’s single-bevel, whether bevel side up or down.
As a chopping test, I put the natas up against my Gränsfors Bruks carving axe on a 3-1/2″ maple windfall. The axe, which weighs 2 lbs 3 oz and has a 4-1/2″ blade, broke through with 30 strokes in 30 seconds. The Silky took 39 strokes and 41 seconds. I wasn’t expecting the Kakuri to measure up to the larger and heavier competition, but it cut through the maple with 34 strokes in 27 seconds. I think the Kakuri’s surprising performance might have been due to its fine 16-degree bevel. Both the Silky and the axe have a slightly blunter 20-degree angle. One of the online reviewers of the Silky nata mentioned that sawing is much more efficient than chopping, so I used my Silky Bigboy folding saw and got through the same piece of maple with 41 strokes in 20 seconds.
For splitting kindling, the natas are again very effective tools. With the long blades you don’t have to be quite so accurate as with the short blade of a hatchet, and both the Silky and the Kakuri have enough weight to make splits in small pieces of wood. For larger or knotty pieces of wood that don’t come apart in a single swing, striking the back of the blade will drive a nata through. An axe may bury itself before the wood splits, and you may have to raise both axe and wood to strike the chopping block to continue. The extra length of the nata can leave the tip of the blade sticking out from the wood, providing a place to strike with a baton to continue driving through.
Both the Kakuri 165 and the Silky Nata 240 are very effective tools for campcraft. And just as I was quick to convert from my western push saws to Japanese pull saws, I’ll make the switch from hatchet to the Japanese nata.
Christopher Cunningham is the editor of Small Boats Magazine.
Barry Jensen built his first boat, a Sabot sailing dinghy, 55 years ago, when he was just 14 years old. As an adult, working as a librarian in Victoria, British Columbia, he built more boats: a 14′ plywood Petrel sailboat and a couple of cedar-strip kayaks, to name a few. And, while it was in him to retire after a 34-year career doing work that actually put food on the table, he hasn’t been able to shake his habit as a serial boatbuilder.
It would then come as no surprise that when he flew across Canada to see the sights of the country’s Atlantic seaboard, he came home with one lasting impression: lobsterboats. He turned, instinctively perhaps, to his home library and eventually found his way among the neatly ordered volumes to call number 623.8202 GAR V.2, Building Classic Small Craft, Volume 2, by John Gardner, and landed on chapter 7, page 91: “Down East Workboat.” The boat there was developed in Maine’s Washington County, right across the border from the Canadian province of New Brunswick, and was similar in form to the Canadian Cape Island lobsterboat, native to Cape Sable Island on the south coast of Nova Scotia.
While the provenance of the design appealed to Barry, the carvel planking did not—it was not a method he had tried—so he decided on cedar strip, a method he had used on his kayaks, a 7′ pram, and a hull to turn his soft-bottomed inflatable into a RIB.
He bought 20′ 1×6 cedar boards from a local lumberyard, cut his own 1/2″ strips, set up the molds, and went to work. His son, Junichi, lives close by and is a good man to have on the job, not only because he works for the B.C. provincial government on building and safety standards, but also because he is a fine anecdotal argument for serial boatbuilding as a genetic condition. Junichi’s first boat, a 13′ strip-built peapod, was featured in a Disney movie filmed in British Columbia. More recently he rebuilt a 14’ cedar Peterborough runabout and converted a 16′ Atkin-designed rowboat that he’d built into a 12′ runabout.
Barry and Junichi gave the fully planked workboat hull two layers of 6-oz ’glass and epoxy, and when the time came to flip the hull upright, Junichi arrived with an old mattress. Then father and son, with the help of several neighbors, rolled it from strongback to cradle.
After Barry ’glassed the interior, installed two 2×6 stringers, foam flotation, and the cockpit sole, he began to design the forecabin and pilothouse. He had read that there were many compelling arguments why he should not add a cabin and wheelhouse to an open boat, but he had one compelling argument why he could: “It’s my boat.” He set the length of the cabin at 6′ 6″, long enough for a comfortable berth, then mocked-up the pilothouse with 2x2s. When the roofs and walls were in place, Barry installed a solid door with a lock, sliding windows, seats, and the controls at the helm.
Launch day started with a celebration at the house, attended by family and neighbors, and then moved to the launch ramp at Brentwood Bay, a handful of miles (plus a few more digits in kilometers) north of Victoria. The boat was christened C H K, after the first initials of his three grandkids. A borrowed 20-hp two-stroke was the boat’s first outboard, and when Barry decided that wasn’t enough power, he bought a new 20-hp four-stroke.
Barry and C H K are in the heart of beautiful cruising grounds. The summer before the pandemic, he cruised the B.C. coast north some 150 miles to Desolation Sound, and then kept closer to home last summer and meandered through the Gulf Islands. This coming summer, he hopes to travel farther, vaccinations permitting—and if he can put off building his next boat.
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RASCAL sped across the riffled waters of Long Island Sound. Her mahogany foredeck glowed from the depths of its varnish, and her stainless-steel cutwater sparkled through drops of water streamlining into mist. Driver and passenger sat low on a simple rolled leather seat, legs stretched out nearly parallel to the cockpit sole. A tall person could reach over the side and touch the water as it rushed aft at better than 50 mph. Memories of my first ride in RASCAL still raise goose bumps after 15 years.
At 15′ in length and weighing about 1,000 lbs with a full fuel tank and cockpit, RASCAL is a cheeky little boat— “pleasantly mischievous” is one of the ways Merriam-Webster’s Unabridged Dictionary defines the name—powered by a 60-hp Mercury outboard. If Colin Chapman had designed and built boats instead of Lotus automobiles, a boat of RASCAL’s character surely would have been among them—the Lotus Super Seven of the waterways.
Designed and built by Kenny Bassett, Onion River Boat Works, RASCAL offers more bang for the buck than just about any other runabout a father and son could build over several hundred hours of nights and weekends. They will build her of plywood—4mm for the topsides and decks, 5mm for the bottom—ripped into strips 1″ wide and laid diagonally over frames and stringers. That’s the easy part. If they want to capture the gloss and romance of traditional mahogany runabouts, they’ll plank the topsides with 1⁄ 4″ solid mahogany, perfectly lined off and set in epoxy. Although this method taxes the skill and patience of an amateur builder, it’s far from impossible. In fact, Tom Donahue, an electrical engineer living in Connecticut, recently completed a Rascal. Before this project, he’d built nothing more demanding than a couple of birdhouses. Donahue knows, maybe better than anyone, that whoever builds a Rascal must let patience guide them throughout the project, especially during the varnishing. The finishwork will likely require as much, or more, time than the construction.
The final result, though, is worth the wait. RASCAL rides atop a shallow-V bottom. Her steep entry warps into a flat run and ends at the transom in a deadrise of about 7 degrees. A delta-shape pad keel from station No. 2 aft to the transom provides a perfect planing surface, allowing RASCAL to make the transition from displacement speed to full plane in a single heave—absent the “hump” we associate with deep-V hulls and their slightly shallower modified-V sisters. Chine flats emerge from the waterline at station No. 4, which corresponds with the forward edge of the cockpit. They rise gracefully and embrace the stem about halfway up the bow, forming a line that plays with light and shadow to create visual interest forward of the cockpit. These chines also deflect spray.
RASCAL’s exceptional proportions mask her size when she stands alone in the slip or speeds across the water. Only when she’s parked next to a larger boat does she reveal her compact dimensions. The outboard’s power head, like a welt on the forehead of Julianne Moore, may diminish our first impressions from exquisite to merely beautiful, but familiarity ought to heal the wound. Bassett was aware of this possibility, so he painted the cowling of the outboard on hull No.1. A lustrous solid black accented by the name RASCAL in chromed script made the power head an integral part of the design, further defining the boat’s character and purpose.
I’d met Bassett at the Riverside Yacht Club in the town of the same name located two train stops east of Greenwich, Connecticut. He’d traveled from New Hampshire to demonstrate the boat to a prospective buyer and invited me to join him for a test drive afterward. Bassett fired up the three-cylinder Mercury, which was still warm from his demo, engaged forward gear, and idled us into the channel.
At rest and under slow way, RASCAL lightly tap-danced to the rhythm of cat’s-paws stirred by the breeze. This lateral motion is common to other runabouts I’ve driven and seems to be a characteristic of the bottom’s shape and the boat’s low center of gravity. I love this little dance, because it conveys a restless energy—the promise of speed. Most runabouts fulfill this promise, whether they are blindingly fast or simply pleasingly rapid.
Few powerboats involve us in their playfulness as completely as does a fine runabout, and RASCAL’s length and light weight intensify all of the sensations—save one: the rumble of an inboard engine, V-8, or straight-six barking epithets from the chrome tips of a through-transom exhaust. When I drove the original RASCAL, a 60-hp Mercury two-stroke outboard powered her, and I admit to being disenchanted by the ring, ding, ding voice coming from the transom. Sure, I knew better. I had road-raced two-stroke motorcycles in the late 1960s and early 1970s, and understood their potential to entertain the speed demon in all of us. I knew also that this lightweight outboard was the key to RASCAL’s personality.
Never mind Gar Wood’s neat 16′ Speedster inboard runabout or, to be more contemporary, Donzi’s lovely Sweet 16 sterndrive, only an outboard would give Bassett everything he wanted—simplicity of installation, ease of maintenance, purchase price, light weight and performance. Although outboard-powered classics never gained the cachet of their inboard sisters, they’ve written a richly colorful history for themselves in racing and more sedate forms of boating. In RASCAL, Bassett has combined the spirit of the all-conquering Switzer Craft hydroplanes and utilities with the look and presence of a Gold Cup raceboat.
After we cleared the mooring field and the no-wake zone, Bassett trimmed the outboard’s drive leg and pushed the throttle to the stops, sending us in a single rush to a speed of 50 mph. In the open water, RASCAL skimmed atop a foot or so of chop, doing her best imitation of a Lotus Super Seven tearing along a country lane in the north of England. Hard left, hard right, the little boat put her shoulder into the turns and carved perfect arcs. A tiny skid fin, at the leading edge of the planing surface and projecting to a depth of 2 3⁄4″ from the pad keel, helped RASCAL hold her line and speed in these turns. Without the fin, she would drift wide—her way of asking the driver to back off the throttle. We played until our faces ached with indelible grins and the electric tilt and trim on the outboard quit working.
We met again later in the summer—this time on Candlewood Lake, near Danbury, Connecticut. This lake is an impoundment and is very narrow in many sections. Wind-blown waves and the wakes of powerboats bounce off the shorelines and march directly back toward the center of the lake. Picture the inside of a washing machine, the agitator of which moves rapidly up and down. Even during the week, motorboat traffic on Candlewood resembles the madness of I-95 between New Haven and Greenwich, so we looked for relatively quiet water to time her acceleration and top speed in fresh water. We recorded 2.7 seconds from 25 to 35 mph and a maximum speed of 52 mph.
My turn to drive. The cockpit is intimate, the steering wheel small, and the gauges are located in a panel at the center of the dashboard, similar to the arrangement in a 1952 Jaguar XK120. The seat is a paragon of simple design and construction, a pair of leather-covered foam cushions resting on nylon webbing. As drawn, the cockpit ought to accommodate a reasonable variety of human heights and widths. If I were going to build a Rascal, I’d figure out a way to make the seat adjustable fore-and-aft.
The unassisted cable-operated steering was quick, and RASCAL’s response nearly instantaneous. At first, the boat’s quickness startled me, so I eased back on the throttle until I got the feel of her handling. In those washing machine waters, she preferred staying on top of the conditions, so the faster we went, the smoother was her ride. RASCAL reacted predictably to changes in the outboard’s trim. Trimming in brought the bow down to engage the waves; trimming out raised the bow, transferring the load to her planing surface under the cockpit. She never porpoised, chine-walked, or tried to get airborne. One owner of a Rascal has clamped a heavily modified outboard onto the transom and regularly sees 70 mph. He has reported that she remains free of handling vices.
Like a pleasingly mischievous friend, RASCAL defies anyone to resist her charm, her playfulness, and friendly manners. She may not be the easiest boat to build, but rendering the two-dimensional drawings into all her wonderful three-dimensional shapes may make you as giddy as does driving her.
Ken Bassett retired and closed Onion River Boatworks in 2017; there are no plans available for RASCAL. The review is presented here as archival material.
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With his Stir Ven design, a 22′ LOA centerboarder, François Vivier took first place in the “neo-traditional” category of a 1997 design competition organized by the French magazine Le Chasse-Marée. His main design objective was to balance the aesthetics and appeal of a purely traditional sailboat with a modern hull’s efficiency of construction, maintenance, and overall performance. Nine years and twenty-five boats later, it seems that he has fully reached his initial aim.
Designed at first with amateur builders in mind, Stir Ven has been refined several times, and the design is now being built professionally by the north Brittany boatyard Grand Largue, which produces versions ranging from a do-it-yourself kit to a fully equipped, ready-to-sail boat. Vivier’s very detailed drawings and instructions do not mean that Stir Ven’s lapstrake plywood-and-epoxy hull is an easy one to build, especially for beginners. Previous experience with a smaller lapstrake project—a Tom Hill design could be a nice training project—is more than recommended.
The Stir Ven hull is 22′ long, 7′ 3″ wide, and has a 397-lb cast-iron centerboard. Her lapstrake planking is 3⁄8″-thick marine plywood, with 5⁄8″ bulkheads. The main structural elements, including the deck, floors, watertight compartments, and frames, are all constructed of 3⁄8″ plywood. Her cockpit sole, rudder, and rear hatch are slightly thicker, using 10mm plywood (about 7⁄16″) that is easily found in France but may be less standard elsewhere. The backbone is made of the hardwood sapele, with wood-epoxy technology used all over, fillet joints included. Long common in America, such composite construction techniques are making some inroads among the traditional wooden boat builders in France, where even today a majority favors mechanical fastenings and cotton caulking. In old countries, things change perhaps more slowly than they might….
The Stir Ven sail plan shows a powerful, gaff-rigged mainsail of 204 sq ft. Two halyards easily hoist the high-peaked gaff, which sets nearly vertical. Her 75-sq-ft genoa gives her an efficient total of 279 sq ft of sail area. For working downwind, an optional asymmetrical spinnaker can be fitted to the end of a small—but not very aesthetically pleasing—bowsprit.
Once launched, Stir Ven is quickly and easily rigged. When trailering, the mast, which is both light and short, lies flat on deck, resting in the tabernacle with the shrouds and forestay lashed down. Once the mast heel is fitted in the tabernacle, the mast can be hoisted by one crew member hauling on the forestay, which attaches to the stemhead fitting. After the shrouds and forestay have been tensioned properly, the sails have been hanked on, and the rudder has been shipped, you are ready to go. The tiller swings under the afterdeck, leaving plenty of free space on deck for the mainsheet tackle and the horse traveler. It’s difficult to imagine a simpler operation. Two people can get the boat from trailer to sailing in less than half an hour. Before setting sail, however, you have to remember to lower the heavy centerboard.
After her initial heel, Stir Ven stays firmly on her bilges and holds a perfect trim until the wind reaches about 12 knots. If the wind is heavier, the huge main has to be reefed to keep the helm in balance, but even at high angles of heel the centerboard is heavy enough to keep the boat steady in the gusts. For ultimate security, Vivier has designed enough buoyancy in enclosed compartments forward and on both sides of the cockpit to make Stir Ven unsinkable. Some real-world testing has since demonstrated the efficiency of the design. Her tiller is always light and responsive, without any tendency toward weather helm.
To a purist’s eye, the optional spinnaker may seem to be an incongruity in conjunction with a gaff rig, but it greatly improves downwind performance and is small enough to be easily mastered, even in a good breeze.
Stir Ven’s rig is set up in a way very similar to a big dinghy, and deck hardware has been kept to a minimum for simple handling. It will not scare newcomers. For the construction, however, parts such as the stemhead fitting, the mast tabernacle, and the main horse traveler may have to be professionally manufactured in bronze or galvanized steel. The small traveler adds a traditional touch on the after deck and improves the set of the mainsail. The main and jib halyards are made off to cleats mounted on the tabernacle, but it is also possible to lead them through turning blocks to cam cleats mounted on the cabin roof on each side of the companionway, so that all of the lines will be within easy reach of the cockpit.
The small, cambered cuddy cabin is very low and does not protrude too much above the sheerline. The cabin is big enough to accommodate two usable bunks but lacks locker space. An optional cockpit tent erected on hoops greatly adds to the crew’s comfort when camp-cruising, providing a sheltered living area with full 6′ standing headroom in the cockpit. At night, two berths can be made up on the cockpit sole. The cockpit is not self-bailing, however, so any water remaining from the day’s sail will have to be pumped out. The cockpit’s size and depth, on the other hand, help children and beginning sailors feel immediately at ease and protect them from spray.
All heavy gear—water cans, fenders, and so on—find their natural place in compartments under the cockpit gratings, but they are not protected from water. The mooring line and anchor can be conveniently stowed in a forward locker, closed by a flush-mounted hatch. A bigger box just aft of the rode locker can be used to store the outboard motor, together with its portable gas tank. Because they contain heavy gear, those two lockers have been judiciously located far from the ends of the boat. Another detail betrays Vivier’s care in design: rather than using a conventional—and ugly—outboard motor bracket, he has provided a simple and stylish transom cutout for the motor, which can be removed and stored in the locker when not in use.
“I have been sailing since my childhood in the ’60s, a time when boats were mainly built of wood, designed by a naval architect, and built by experienced craftsmen,” Vivier says. “My passion for boats comes from that era, now considered as prehistoric. Since then, I have been studying ship engineering and architecture, and worked a long time for the biggest French shipyards and maritime transportation companies of the Atlantic west coast. My career ended as IRCN director (Institut de Recherches en Construction Navales— the Research Institute for Ship Building) where I have gained through experience a deep technical and practical knowledge of all types of boats, for leisure, fishing, commercial, or military uses. But for 25 years, my ‘secret garden’ has always been traditional boating, sail-and-oar, and amateur small-boat building. This led me to design for my pleasure various sailing or rowing boats, all inspired by tradition, but easy to build with simple tools at home. In 1981, I was one of the founders of Le Chasse-Marée, a yachting magazine that right from its first issue was promoting a new sailing philosophy, summed up in a simple slogan: ‘Naviguez autrement,’ which translates as ‘sail in a different way.’
“Soon after Le Chasse-Marée’s founding, I designed l’Aven, the first French sail-and-oar stock design, 80 of which have since left the yard in Loctudy. In 1985, I drew l’Aber with home-builders in mind and developed a large range of various sailing and rowing small boats. Today, the now affordable CNC technology (computer numerically controlled cutting) and yacht design software are the best tools to develop new building kits. Their high level of precision greatly simplifies and shortens a lot of usually painful and boring boatbuilding tasks, and in order to answer to an increasing international demand, I am now translating my building instructions notebooks in English—but the measurement system is still metric.”
This Boat Profile was published in Small Boats 2007 and appears here as archival material. Plans for the Stir Ven 22 are available from Vivier Boats.
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In 1987, as Chip Miller was learning how to build wooden boats at the Maine Maritime Museum in Bath, he became interested in Alton Wallace’s design for an open skiff. Contacting Wallace, Miller arranged to have a look at one of his original hulls. He measured that hull, carved a half model, and—using the model in the traditional way and working with another student—built a full-scale version of Wallace’s skiff in the museum’s shop. He liked the result, and after a few years’ work in various Maine boatyards, he concluded it was time to build this seaworthy design again, using up-to-date techniques.
Where to begin? He still had his half model, and the Maine Maritime Museum still had the set of molds Miller had made and used there for his student project. “They didn’t want them,” he was told when he inquired about the molds. He promptly retrieved them, presumably saving these critical ingredients of his own boatbuilding dreams from the kindling pile or the dump.
Six River Marine, the company Miller formed with Scott Conrad in 1994, got its start as a mobile marine service. Miller and Conrad “packed their tools in a van and set about letting folks know of their services,” according to Six River’s informative web site. They had to work under some fairly miserable conditions during this time.
The West Pointer came into the picture about 10 years later, long after a roomy former chicken house in North Yarmouth, Maine, had replaced the van as Six River Marine’s principal place of business. Miller and Conrad had built up a storage, repair, and restoration operation that concentrated on boats built from the 1920s through the 1960s, some of which had won show honors for the quality of the restoration work. The student half model of the Wallace skiff lay in Miller’s office, reminding him daily of the handsome boat he had built nearly 20 years before.
The boat Miller built at the Maine Maritime Museum in 1987 was conventionally planked and a few inches shorter than the version he began building in the North Yarmouth shop. “More freeboard, less flare, increased beam, and increased length” is how he describes the result, which is 18′ 6″ overall, draws 7″ with its outboard motor up, and displaces 1,100 lbs.
The big difference between the West Pointer 18 (20′ and 22′ versions are planned too) and its museum-built predecessor, however, is in the construction. Miller settled on cold-molded veneers over laminated mahogany frames, using two 1⁄8″ layers of cedar and one of mahogany, sheathed on the outside with resin-impregnated Dynel cloth and coated with a one-part urethane paint. The veneers are laid at right angles to each other in “planks” of varying widths, glued together with epoxy while being clamped with a vacuum-bag. He describes the result as “a rigid one-piece structure made completely of wood not fiberglass.”
The resulting hull, Miller asserts, is lighter in weight than its conventionally planked ancestor, and considerably easier to maintain. The company’s brochure for the West Pointer notes that the cedar and mahogany used for veneers is rot resistant and completely sealed with epoxy: “The result is a solid, impervious structure. With proper maintenance, rot won’t have a chance to get started.”
The 18’6″ model that came out of the shop in 2005 is decked forward with a curved coaming running down both sides, from the foredeck all the way to the stern. Side decks are about 8″ wide, and the coaming looks low enough to permit a person to sit on the narrow deck for a while without discomfort. There is a center console equipped with a stainless-steel destroyer-type wheel and throttle and the usual gauges, plus convenient grabrails to port and starboard. The helmsman’s seat—gray-painted plywood—is positioned far enough aft to allow the skipper to stand or sit at the console (company photographs always show the helmsman standing, suggesting the West Pointer’s roots as a traditional workboat). There’s storage in the locker under the helmsman’s seat and under the foredeck.
This is a custom-built boat, and the configuration of hull No. 1 is only one of the possibilities. “In keeping with Six River Marine’s reputation as a custom boat builder, every hull is built to order,” states the company brochure. Alternate configurations might include a dodger, more decking, a windshield, additional rubrails, a different style of coaming, various seating arrangements, even a steering arrangement other than the center console. And, of course, the level of finish— less paint, more varnish—is up to the customer as well. Hull No. 1 is white with gray decks and interior, set off with a varnished coaming, grabrails, and console trim—very workmanlike, with just enough varnish to make it interesting.
The company recommends a 50-hp outboard, although at the customer’s request the first hull was equipped with a somewhat larger four-stroke Honda. A 50-hp motor, Miller says, will push this hull at 25 knots. It may be too early to know much about customer satisfaction, but the Maine buyer who commissioned hull No. 1 reportedly sold it to another buyer after a season and the boat is now with its second owner in Stuart, Florida. The original customer, meanwhile, has returned to Six River Marine and ordered a second West Pointer for himself.
This Boat Profile was published in Small Boats 2007 and appears here as archival material. For current information on the West Pointer 18, contact Six River Marine, 160 Royal Rd., North Yarmouth, ME 04097; 207–846–6675.
There is always an air of anticipation (and anxiety) when contemplating building a new design that you have never seen (much less been on board). Such was the case a few years back, when WoodenBoat School shop manager Jerry Cumbo and I were casting about for another boat to use as a shop project for the Fundamentals of Boatbuilding courses taught at the school. The design needed to be technically interesting, with plenty of different operations, yet not so complex that it would take forever to build. It had to be safe and handle well enough that it might be a candidate to join the school’s waterfront fleet, and at the same time be practical enough that a student might actually want to build one. And it wouldn’t hurt if it looked good, too. We already had the usual suspects on the floor—the dory types and East Coast carvel pulling boat types. We were ready for something new, but what?
That’s when Mike O’Brien, WoodenBoat’s senior editor and design guru, suggested Skylark by Paul Gartside. Mike had recently reviewed the boat for the magazine and liked the cut of her jib (and other parts, too). Skylark was designed for day-sailing in the sporty estuary and ocean waters off the Oregon coast. Gartside’s customer had a preference for the lug-rigged older British sailing dinghies, and that’s where the design began. The resulting plans looked great. With a 14′ length and a 5’8″ beam and tipping the scales at a beefy 550 lbs, Skylark is one big, little boat with plenty of freeboard and stability. A quick look at the design reveals hollow waterlines forward, an easy run of planks aft, and a broad transom that barely touches the water. She has lots of rocker so she would tack easily, and if need be, would be efficient enough to move decently with either oars or small outboard. Skylark reflects her British Isles heritage with robust construction featuring a heavy-duty skeg-type backbone, lapstrake…er, clinker (in the British parlance) planking fastened with square European-type rivets, a plethora of frames, and a profusion of reinforcing knees—at the transom, stern, and thwarts.
Paul also penned in a handsome sheerline—this being the top edge of the boat’s hull, in profile. It’s an important element in a boat’s shape. Get it wrong, and the boat’s looks will suffer considerably. Oftentimes, small, wide boats can have sheers that look powderhornish—meaning their sheers dip precipitously up forward. They can sometimes look outright dumpy, but in this case, the sheer is elegant and, in profile, evokes the look of a svelte yacht dinghy. Best of all was her practical, near workboat ambiance. There was nothing that demanded expensive wood and 14 coats of varnish. Nor did it request a blue blazer or an ascot. Instead, it said, “Just jump in with a few friends and go—and don’t forget to bring the dog.” We were sold.
We did, however make few East Coast modifications to Skylark’s specifications. To wit: We planked the hull with Maine white cedar rather than the Western red cedar, for a couple of reasons. First, the Maine cedar is a tougher wood that resists impact and stress better than the red. Second, we had a good supply of it. We also made the planking a bit heftier as added protection from the occasional rocky beach landing. The knees were to be made of local hackmatack root.
Also, originally the plans called for a galvanized-steel centerboard. To standardize the boat with the rest of the WoodenBoat fleet, we opted for a Dynel-covered plywood board (ballasted with a slug of lead) that could be hauled up with a simple lanyard and cleated off.
Then, there is the matter of which sail rig to use. Skylark can be built with a deluxe gunter jib and main rig (94 sq ft) or the basic standing lug (88 sq ft). Again, opting for simplicity, we went with the free-standing lug.
The result of our modifications is a boat that is possibly somewhat more heavily built than the original design, but the difference is nothing to write home to mother about. We didn’t log the time required to build ours, and it wouldn’t be a meaningful figure if we had, for it was built in a classroom setting. However, designer Gartside suggests that the boat will require 600 hours of a highly skilled boatbuilder’s time.
Fast-forwarding, the boat was built over a number of summers in classes taught by a few different instructors and fashioned by literally hundreds of hands of students and alumni and shop staff. The resulting boat was even better looking than we had hoped for. She’s elegant, in a practical way, with an easy-to-maintain finish. Her topsides are painted with marine enamel, and the interior has a bright, oiled finish. That oil, it should be noted, will not remain as bright over the years as it appears in the accompanying photographs. It will weather to black, but will be far easier to maintain than varnish.
And how does she sail? The waterfront staff have all given Skylark universally high marks. Her inviting accommodations are comfortable to be in and can easily sail with four adults aboard. With her standing lug rig with a single halyard, she is simple to get underway. Just jump aboard and drop the centerboard, and off you go. That’s what Al Fletcher, WoodenBoat’s waterfront manager, did at the end of last summer. His shakedown sail resulted in the usual tweaks to a new boat’s rig, but he had high praise for the design.
On an outing in 12 knots of breeze, Fletcher reported good offwind speed. Upwind performance that day suffered as a result of a too-short mast, which produced a rather severe wrinkle in the sail. He said, “The boat tacked without hesitation and we were never caught in stays, even with minimal forward movement.” Al’s conclusion? “This is a roomy, quick, and stable 14′ open dinghy that I believe will give an outstanding account of herself once we get the rig sorted out.”
By season’s end, WoodenBoat’s new Skylark had a longer mast, and she was well through her teething problems. It seems nobody can pass by her without stopping and commenting on her beauty and grace. She has proven herself fast, sailing well with a good turn of speed (even in light air due to her tall lug rig). She tacks well without hesitation, feels stable both at the dock and under sail, and has a delightful chortle as water travels over the laps. Like all centerboard hulls, Skylark can cruise where no deep-keeled daysailer would dare to venture. Her draft, board up, is but 10″; with it down, it is 3′ 4″. She beaches handily with the kick-up rudder. Notes one passenger of the boat, “It even smells good.”
Granted, a single design will not be the perfect choice for all. In fact, Al Fletcher notes that Skylark was brought into the WoodenBoat fleet specifically to fill the niche between a 17′ Fenwick Williams catboat and a 12′ Beetle Cat. Four adults looking for a fine afternoon on the water will find the elegant yet working-class Skylark to be a delight. She is just a lot of fun to sail.
Time passes and carries with it our memories of even the sweetest experiences. I admit to having forgotten a lot during the past 25 years, but every moment I’ve spent in the company of BLACKBIRD remains firmly burned onto the CD of my life in boats. She’s a nautical treasure and rubs up against the edges of perfection. She may be the most appealing example of her type, a minimalist outboard-powered cruiser for sheltered waters, and the reason (or reasons) she hasn’t spawned a single sibling remains one of the most baffling mysteries of our time.
Conceived in the early 1980s by Ken Bassett, Onion River Boat Works, and massaged into her final form by Phil Bolger, BLACKBIRD embodies the spirit of carefree mobility found in the lyrics of the Mort Dixon/Ray Henderson song “Bye Bye Blackbird,” “Pack up all my cares and woe, here I go, singin’ low, bye bye blackbird.” BLACKBIRD evolved on the image of the 40′ launch ESCORT, which Al Mason designed in about 1940 when he worked at Sparkman & Stephens. Bassett latched onto the notion of building a simple, lightweight variation of the theme, which ESCORT so beautifully represents, while he watched slides of a friend’s cruise on the Rideau Canal system in Ontario, Canada. His preliminary drawings showed a hardchined hull that Bassett planned to build from plywood. He sent the drawings to Bolger for completion. Bolger shared Bassett’s admiration for Mason’s graceful launch, and he drew plans for a round-bilged hull measuring 23′ 4″ long overall and 7′ 8″ maximum beam.
Approximately three times longer overall than she is wide and, on the waterline, only a few inches shy of her overall length, BLACKBIRD is all about curves—the shadows and highlights of which define her shape as she moves through the water or swings to her anchor. She’s beautiful from every angle, but her relatively short overall length pushes the aesthetic limits. If we chop off so much as a foot, retaining the beam as drawn, we’d be in danger of creating a caricature. If we scale down the design by a foot—which also requires narrowing the beam—we may cramp her interior volume beyond practical use.
On the other hand, scaling up or lengthening her on the same beam would add far more than the numbers indicate. She would be faster, roomier, more stable laterally and longitudinally, more elegant, and more expensive to build or have built. In spite of our preferences—as drawn or longer—we can’t ignore the sound reasoning that established BLACKBIRD’s final dimensions. A lightweight 24′ boat handles easily on the water, tows without protest, and readily cooperates during launching and retrieving. All of these characteristics extend her cruising grounds and enhance her usefulness. I’ve often imagined towing BLACKBIRD to some obscure body of water many miles from home and camping in her during rest stops along the road.
Belowdecks, BLACKBIRD serves up a cozy space for one or two adults. We’ll label the accommodations, which comprise a V-berth, enclosed head, and a galley opposite, luxurious camping. It certainly captivated me. BLACKBIRD and I met for the first time at a marina in Grand Isle, Vermont. I’d driven north from Connecticut to meet Bassett and spend an afternoon aboard the boat. Arriving early, I went aboard and crept into the cabin like a jewel thief slipping into madame’s boudoir. Bolger has referred to the layout as “shipshape.” I have to call the ambience magical. I went forward, collapsed onto the V-berth, closed my eyes, and let the boat’s polite motion lull me to sleep. Her original owner cruised the shallow waters of south Florida and lived aboard for a number of months. Before that, he and Bassett took the boat from The WoodenBoat Show in Newport to Grand Isle via the Hudson River and Champlain Canal. In the tropics or during the summer months farther north, we’d spend more time outside than in, lounging on a beach chair in the cockpit, a large umbrella sheltering us from the sun. We’d cook on a portable grill, sip espresso that we made on the stove in the galley, and then toast the sunset with a snifter of fine brandy.
In keeping with the theme of carefree mobility, Bassett specified outboard power for BLACKBIRD—originally a 50-hp Mercury. So equipped, the boat is easier to launch and retrieve, is lighter in weight, and doesn’t require all the plumbing and through-hull fittings that an inboard does. Installing an outboard also is orders of magnitude less intimidating to an amateur builder. Mounted in a watertight well, the motor doesn’t intrude on our peace as we cruise up the river, nor does it interfere with our appreciation of BLACKBIRD’s simple beauty.
Devoid of styling gimmicks, BLACKBIRD combines the purposeful look of a workboat with the grace of a gentleman’s launch. Although a cynic could argue that the complex shapes, especially in the trunk cabin, are hard to build and unnecessary to the boat’s function, she’d lose a lot of her emotional appeal if those shapes were eliminated—at least the love-at-first-sight part. The smitten enthusiast, emotions aside, could argue that the soft shapes allow the wind to flow more easily over the structure. He’d be correct. We’re not concerned with the aerodynamics of high-speed racing boats, but we are concerned with how the strong surface winds affect the boat’s directional stability in open waters and her maneuverability under slow way in close quarters. Rounded surfaces are slipperier than are flat ones.
The same idea applies to shapes below the waterline. BLACKBIRD’s barely plumb stem caps a sharp entry, which shows some hollow in the waterlines through station No. 2. Beyond station No. 2, the hull swells out, losing deadrise and gaining buoyancy as we trace the waterlines toward the transom. The run is flat, and the deadrise diminishes to zero degrees at the transom. Bolger worked magic in the flow lines, because the boat runs cleanly at all speeds, doesn’t need spray rails, doesn’t require more than 50 hp for a satisfying top speed (about 18 knots), and doesn’t roll enough to notice. Her light weight and flat run quicken the motion, but not uncomfortably so, as I discovered during a breezy day on Lake Champlain and in seas of about 2′.
Under way, BLACKBIRD happily slips along at any speed you select. At displacement speeds, her sharp entry splits the waves, letting her buoyant midsection ride gently over the remainder. She lifts to maximum speed in a deliberate rush, as though hurrying were beneath her dignity. At top speed, she carries her chin about 18″ above the surface of the water, waiting to engage the crest of another boat’s wake or a roguishly large wave that sneaked into the train. BLACKBIRD tracks well upwind and down but, like any lightweight boat, wanders a bit as she spars with the waves. Beam seas and wind nudge her this way and that, but not alarmingly so.
A fairly long skeg helps BLACKBIRD with her directional stability, in a straight line and in turns, but it limits the radius at which she takes a turn at the higher speeds in her range. The skeg robs the propeller of solid water; the engine revs, the boat slows, and the helmsman feels silly. BLACKBIRD isn’t a hot rod and should be treated accordingly.
Bassett cold-molded BLACKBIRD of 1⁄8″ Western red cedar, the first three courses laid diagonally and the last longitudinally. He used Philippine mahogany for the keel, Honduras mahogany for the skeg, and ash for the stem. The method is well within the ability of amateur builders, and it produces a strong, stiff, and lightweight structure. Spiling—fitting the thin planks so they butt one another without gaps—and stapling to hold them in place while the epoxy resin sets require a great deal of patience. The bare hull, as Bassett and a handful of helpers lifted it off the molds, weighed about 500 lbs. The complete boat displaces 2,800 lbs.
Building the trunk cabin and windscreen taxes the craftsman’s eye and skills more than any other part of the boat. Bassett referred to the process as an exercise in free-form construction. The cabin’s delectable oval-shaped fascia rakes slightly aft, and its sides become perpendicular as they curve toward the cockpit. The coach roof slopes toward the bow and shows diminishing camber from the windscreen forward. Working in a relatively confined area, Bassett couldn’t get far enough away to really see the shape he was creating. “We would just put in a piece of wood and bend it until it looked like what we wanted,” he said.
Coaxing the many individual elements of a design into an engaging whole is the brass ring of design and construction. In BLACKBIRD’s case, the color scheme, working with the small riot of shapes, unifies the boat. “One thing becomes another,” Bassett said. “When you look at it, when you move around in it, when you steer it, you’re not just in a certain area—you’re in a whole boat.”
To meet BLACKBIRD is to love her, the way that strangers meet and, feeling as though they’ve known one another all their lives, stay friends forever.
For plans contact:
Susanne Altenburger
Phil Bolger & Friends Inc.
66 Atlantic Street
Gloucester, MA 01930-1627 USA
(Contact information updated March 2022)
Ken Bassett retired and closed Onion River Boatworks in 2017.
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PETITELISA is a synthesis of Gilles Montaubin’s long experience with sail-and-oar boats. Unlike many boats of this type, she is not reminiscent of any traditional working boat type. Instead, she incorporates some very contemporary features. Montaubin, for example, has intensively tested the use of water ballast on many boat designs, and its use on PETITELISA allows her displacement to be adapted to varying conditions: whether propulsion is by sail or oar, whether her crew is solo or accompanied, and whether the sea state is flat or rough. Adding water ballast while rowing in choppy seas increases inertia and makes boat handling easier. Yet this varying ballast is accomplished without changing her overall trailering weight: emptying the ballast tanks is a snap.
Since his childhood, Montaubin has had an acute point of view on the world of boating, a world from which he has always stood aloof. During the 1960s, his father, an orthopedic surgeon, was an enthusiastic racing sailor and boatbuilding fanatic. At that time, the La Rochelle area had few yachtsmen, so everybody exchanged a lot of technical information gathered from the various boatyards and naval architects working in the surrounding area. Gilles served his boatbuilding apprenticeship accompanying his father and decided, after receiving a doctorate of sociology in 1972, to establish himself as a boat designer and builder in the backcountry.
He already had in mind some strong building and design principles: one-off units, simple, cheap, and fast, designed to suit specific needs and developed following his personal experience and that of his customers. Since then, Gilles has never broken his own rules. After a personal experience designing and building a 30′ plywood cruising monohull, his professional career really began, and in 1977 he designed a 40′ cruising catamaran, with which he cruised around Spain and Portugal. Then he began to design boats based on the local types surrounding his location in the heart of le Marais Poitevin, a famous French swamp area of the Atlantic coast. These boats were flatiron skiffs, which here are called plate, which is French for “flat.” But instead of following the tradition of building this type of boat with heavy hardwoods, he switched to concepts he learned from multihull ultra-light composite technology. In 1986, he entered a design competition organized by the French magazine Le Chasse-Marée with his own reading of a traditional plate, built in foam sandwich and weighing only 150 lbs, ready to sail.
In 1992, he saw a nautical magazine that carried reproductions of postcards showing a misainier vendéen, a traditional cat-ketch lugger from the Vendée region. These images inspired him to create a modern interpretation of the type, which marked the beginning of a long line of cheap and fast sail-and-oar boats, all tested in various “Raids,” rowing and sailing races that have become popular throughout Europe, including Portugal, Scotland, Sweden, and Finland. In the 2006 Blekinge Archipelago Raid in Sweden (see WB No. 187), she placed first in her class. Such boats remain in accordance with Gilles’s way of life: discreet.
PETITELISA’s rig can be furled very quickly to adjust to the variable and ever-changing wind conditions of her coastal and inshore waters. Here, easy handling is the key for small-boat sailing security. She has also been designed to sail well to weather, for upwind efficiency is another important security feature on board sail-and-oar boats. At her owner’s request, PETITELISA has a centerboard, although Gilles usually favors the use of asymmetrical leeboards or a daggerboard angled in a trapezoidal well, a feature commonly found on racing dinghies.
The unstayed, carbon-fiber mast is built with two tube sections, the lower one 3 1⁄2″ in diameter and the upper one 2 1⁄2″. Some care is required to fit the mast in its step, because of its overall length of 26′ 3″. The two parts, however, can easily be taken apart for stowage in the cockpit while trailering. A screw in a notch interlocks the two sections of tubing for sail reduction, which is done by rotating the mast, just like a conventional roller-furling jib.
Weighing only about 26 lbs—including the sail—the rig is completed by a long boom. At first, Gilles designed a simple sprit, used only under full sail and stowed on deck if the sail is furled. Because he sails alone most of the time, the owner chose instead a curved laminated boom, with a gooseneck—which is a little bit awkward— fitted on deck behind the mast collar. Designed to reduce sail handling, the system works well but needs very long control lines and numerous cheek blocks.
The first time you climb aboard PETITELISA, you feel immediately secure because of her hull’s high initial stability. Based on a narrow sole with deep-V side panels, her double-chined plywood hull is much more sophisticated than it seems at first glance. The shape is a rather subtle and very efficient compromise, balancing low wetted surface, a long waterline length for rowing, and stability at first degrees of heel under sail. You can move around in the cockpit with the same kind of confidence you experience on board heavier and bigger boats.
Since the helmsman can reach all her lines, there is no need to walk on the foredeck, which is rather narrow due to the very fine entrance of her waterlines. This can lead to some difficulties for mooring or anchoring, although the samson post can be reached by leaning over the cuddy—and maybe a small hatch would improve the maneuver without adding too much weight.
The 17-gallon water ballast tank has been built into the bottom around the centerboard trunk. Its operation is more than simple: after launching PETITELISA, you open the small cockpit sole hatch close to the companionway, unscrew the drain plug, and wait for the tank to fill. A few minutes later, put the plug back in place and screw the deck plate back down. The plug can be removed again when hauling out to save some weight on the trailer. That’s all!
The small cuddy gives the crew a good chance to get out of the weather when necessary, but the designed cabin is too small to accommodate two usable bunks. It’s possible that moving the main bulkhead aft 4″ or so could improve things, but at the expense of cockpit space. Because the rowing thwarts are removable and the cockpit sole is perfectly flat, self-draining, and measuring about 8′ 6″ x 4′ 5″, two people could sleep there in good comfort under a boom tent. All cruising gear—and even a small galley—stows in the forward compartment. Because gear is not stored in compartments under the cockpit sole, the deck surface is kept perfectly watertight while sailing, but inspection ports allow some access to the flotation compartments.
Firm on her chine, PETITELISA is a delight to sail, even in light air. Her high-aspect-ratio sail plan and low wetted surface area have something to do with this pleasant behavior. Closehauled, she points rather high to the wind, but, as usual with a catboat rig, it’s better to keep her off a little bit. Downwind, she is very stable because of the forward position of the rig, which literally pulls the boat as if it were on rails—but mind that boom!
No sail-and-oars boat is perfectly balanced between both propulsion modes, but PETITELISA seems to have reached a high level of equilibrium between usually contradictory requirements. Not bad for such a simple girl.
People are always drawn to the warmth and the visual texture of a varnished wood kayak, but the beauty of a plywood kayak can and should be more than skin deep. Not only do the sweeping curves of the Coho 17’s multichined hull and beveled deck offer up an elegance that sets a kayak like the Coho apart from mainstream composite and rotomolded plastic kayaks, but this stitch-and-glue kayak is also lighter and stiffer than fiberglass kayaks and plastic kayaks of similar size. Pygmy’s computer-generated panel shapes and laser-cut templates produce kit pieces that will come together in an exceptionally fair hull that will hold its shape for the life of the boat. [Update: Pygmy closed at the outset of the pandemic. —Ed.]
In Pygmy’s early kits, butt blocks were used to back up the joints required to make the full-length strakes. The blocks have been done away with, and the butt joints are now just glued and ’glassed. They are every bit as strong, a bit lighter, and make for a cleaner interior. The bottom of the Coho has a slight V through the midsection, enough of a crease to give the midsection plenty of stiffness. The triple-chined hull is lined off into four well-proportioned strakes. The deck has a central ridge that sheds water well and beveled side panels that keep the beam of the boat low and out of the way of the paddle.
At just under 40 lbs, the Coho is an easy lift and carry. You won’t find yourself muttering by the time you get it into the water. The cockpit opening was long enough for me (I’m a bit over 6′ tall) to get in seat-first. That can be an advantage over a small cockpit that requires you sit on the afterdeck and slide into the cockpit feet-first. If you bail out of the Coho after a capsize, you can crawl aboard, straddle the deck, and drop your weight into the seat. Most folks will have enough stability then to get their feet in without having to set up a paddle-float outrigger to stabilize the kayak.
The self-inflating (Therm-a-Rest) seat pad is fairly comfortable initially, but the muscle tension required to keep the legs locked into the thigh braces can eventually lead to fatigue and numbness. The pad also makes for a slightly mushy connection to the boat. For one of my outings in the Coho, I replaced the pad with a minicell foam seat I’d sculpted for one of my own kayaks. My homemade seat is about 15″ long and about 3″ thick at its forward end. Its deep custom-fit contours are more comfortable in the long haul, and the support it provides under my legs keeps my feet from going numb. I also found that the solid connection of the sculpted seat made the Coho easier to control when edging the hull through turns or in surf. If you have rough-water paddling in your sights, carve your stern into a block of minicell.
Once afloat, I felt quite comfortable in the Coho. It has plenty of initial stability so I could set the paddle down and not have to think about keeping the boat upright. Even when the Coho and I were getting slapped around by waves breaking in the shallows, I was able to fiddle with my VHF radio while I had my paddle tucked under my elbow. The Coho has a strong righting moment when set on edge. Canting my hips, I could get the sheer submerged and still feel stable. Only when the coaming touched the water did I feel the stability taper off.
Underway, the Coho tracks well and the bow yaws very little between strokes. The long waterline and sharp ends that contribute to the Coho’s tracking ability will work against you when you try to turn, but a bit of edging will curve the waterline and lift the ends enough to get the hull to carve through a turn. Canting my hips to edge the Coho up to the limits of its stability allowed me to make respectably tight turns. At 17′ 6″ long, the Coho has an appropriate balance between tracking and maneuverability for performance touring. Pygmy offers a rudder as an option, but I don’t think the Coho needs one.
I did several speed trials in the still water using a GPS as a knotmeter. At a relaxed pace I could easily maintain 4.5 knots, a pretty brisk clip for not breaking a sweat. Taking my effort up a notch to an aerobic workout level, I could hold 5.5 knots. Going flat-out over about 50 yards, I could briefly bump up to 6.5 knots. That’s a good set of numbers for a kayak designed for cruising.
On one outing I picked up a pretty good breeze, about 18 knots. Weathercocking is a common problem among sea kayaks. If you are paddling across the wind, the bow is pretty well locked in as it pushes forward into the water, but the stern, trailing in the turbulent water “softened up” by the passage of the hull, tends to get pushed downwind. The result is that the kayak veers into the wind. Rudders and skegs can easily neutralize this tendency by adding more lateral resistance at the stern. In a kayak that has neither, you can edge the boat to turn downwind or do sweep strokes to push the bow in line, but that can be tiring and annoying in moderate breezes, and dangerous in stronger winds if you can’t hold a course in the direction you need to go. Some kayaks are better balanced in the wind than others, and the Coho seemed to be among the former. The best test of weathercocking, oddly enough, is not out in open water where the waves have been kicked up, but in the lee of low-lying land where you’ll find wind without waves. In rough water the ends of the boat get lifted out of the water, and you can use these moments to make a quick sweep and a course correction. In flat water the entire waterline length is immersed and corrections are harder to come by. The Coho did very well in both circumstances, holding a course well with the wind on any quarter.
I moved out of the lee and into rough water, and the Coho was very steady and predictable in wind waves cresting at about 2′. I never had to slap down a brace for an unexpected loss of balance. In paddling around a point where crossing waves zippered over the shoals, throwing water well over my head, I often had so much water pouring over my eyes that I couldn’t see what was coming at me, but the Coho still stayed comfortably planted under me.
While I was paddling the edge of the shoal, a passing container ship threw its wake into the mix. The first wave to hit, the point’s shallow water pitched up behind me a steep 6–7′ feet. I didn’t get a perfect line down the face, so I surfed ahead at a bit of an angle. The Coho raced ahead of the wave and kept from skidding into a broach. At the end of the ride it was a bit of work to get the Coho turned around to head back out for more waves. It’s a lot of boat to spin around in the break zone. Once I got out for the next set of waves, the Coho accelerated very well so I didn’t have to work hard to catch good rides. In fact, I had so much fun surfing that when I saw a cruise ship coming up the shipping lane I stayed around to wait for its wake.
This latest version of the Coho has a recess in the after deck to bring the coaming down low. The extra clearance made it easier to do layback rolls. The Coho rolls easily but slowly—I think the sharp ends create a bit of drag to rotary motion. I did some wet-exit and re-entry drills. Dropping out of the capsized kayak was a cinch, and so was flipping the kayak upright and getting back aboard. Swinging my leg over the deck released some of the levers that tension the hatch-cover straps. You can easily remedy that by putting each lever in a vise and giving the end a solid whack of a hammer to put a bit of a bend in it.
The Coho is an easy boat to like. It looks good and is well-mannered in a wide range of conditions. The only quibbles I had with the Coho were with elements that the homebuilder can easily take care of when outfitting it. Give it the attention it deserves while you’re building it, and it’ll take good care of you.
Pygmy Boats has been closed since the outbreak of the pandemic and isn’t filling orders. The review is presented here as archival material drawn from the back issue of the print annual, Small Boats 2007.
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Every sailor has his own vision of the perfect daysailer. For many, this ideal boat is based on the Herreshoff 12 1⁄2, Nathanael G. Herreshoff’s iconic daysailer, which debuted in the summer of 1915. For others, it’s the larger Fish class or the still-larger Alerion—two more masterworks from the hand of Herreshoff. These boats have been the subject of imitation and interpretation ever since they hit the water over 100 years ago. The Flatfish, designed in the early 1990s, is Joel White’s version of Herreshoff’s Fish.
In 1992, I was looking for a boat to build for my parents, then in their late 60s. They weren’t going cruising anymore, so I was looking for their perfect daysailer. The boat had to be big enough so that they wouldn’t get physically knocked around, and it had to be trailerable. My folks wanted something they could sail on the Hudson and take to both Maine and the Chesapeake. As with any daysailer, the destination becomes less important while the experience of sailing grows. In other words, she had to look good and perform well.
Picking a boat is always a balance of beauty, performance, cost, and, in this case, opportunity. A conversation with Maynard Bray, WoodenBoat magazine’s technical editor, led to an offer to build the first Flatfish, a design project he was working on with Joel White. It was an offer I couldn’t refuse. The boat sounded perfect for my parents’ requirements, and I thought I could build it in a year of half-time work.
When I first spoke with him, Joel had just done the initial drawings. Joel’s objective was to make the Fish trailerable, while retaining all the wonderful qualities of the original. Designed toward the end of Joel’s career, the Flatfish incorporates his experience as a leading builder and designer, and “does no harm” to Herreshoff’s design. The result is a boat with elegant looks. Every curve is right. A few inches over 20′ long, she’s big enough to sail comfortably with six people, but small enough to be easily singlehanded. With a gaff main and a club jib, her simple sloop rig tacks with one move of the tiller and the change of a running backstay. The hull is heavy enough to stand up to a stiff breeze or to carry its way through flat spots and shoot directly into the wind up to a mooring. It’s also slippery enough to accelerate quickly and outpace most boats under 30′, and with the cockpit close to the water there’s a real feeling of speed.
The Flatfish is Joel White’s second direct interpretation of N.G. Herreshoff’s classic hull shape. The first, the Haven 12 1⁄2, has been built by hundreds of professional and amateur builders—my shop included. Shallower and broader than Herreshoff’s originals, both of White’s designs use a keel-centerboard arrangement to maintain performance while making the boats trailerable. There are differences between the Haven and the Flatfish, especially in accommodations, building time, and hull speed. The larger boat comfortably accommodates two more people, and the cuddy cabin allows for stowage and the possibility of a porta-potti. In use, the dockage and launching fees for the Flatfish will be higher. She’s trailerable, but not easily launched at a ramp. She really needs a lift to launch and some mechanical advantage to step the mast. Once rigged, both boats require the same work to get underway.
The building process of the two boats is almost identical and is well documented in Maynard Bray’s book Building the Haven 12 1⁄2. That said, the Flatfish is a lot more boat to build than the Haven. There’s more of everything— building molds, planks, frames, deckbeams. There’s also the cuddy cabin. Comparing the displacement of the hulls minus the ballast, one of White’s own cost-estimating techniques, provides a good indicator of the relative work involved in building the two boats. The Flatfish weighs 1,300 lbs compared to the Haven’s 800 lbs—a factor of 1.625. I found this ratio to be even a little low when applying it to building hours. The time required to build a Flatfish is closer to double that for a Haven, probably because the shorter boat can utilize more one-piece planks and smaller stock. Both the Haven and the Flatfish are designed to be built using the Herreshoff method, which involves one mold for each steamed frame. It’s a lot of work for a single boat, but it makes for a very fair hull and certainly works well for a production boat. It also makes a boat that lasts. There are many hundred-year-old Herreshoffs still sailing. This boat requires 22 molds for the Herreshoff method, while it probably take less than half that number for a conventionally planked carvel hull.
On the water the Haven is evenly matched with its sibling Herreshoff 12 1⁄2. Joel wasn’t able to achieve the same parity with the larger boats. The Flatfish is slightly faster than the Fish. We proved this by match-racing my folks’ Flatfish with an original Fish. Both had new sails and the better helmsman was in the Fish, yet the Flatfish just slightly outpaced the original. (I think the centerboard is the culprit, providing better windward ability.) The profiles of the boats are very similar; there’s a slight difference in the run aft. The real difference is the Flatfish’s broader beam. It’s especially noticeable when the two boats are side by side, on shore or in the water.
Another design goal was to make the boat trailerable for easy transport and storage. My parents’ boat has logged several thousand miles on its trailer. The hull seems no worse for the wear. She also has spent every winter stored in the backyard under a temporary garage. Having her at home allows for convenient maintenance and really makes the boat a part of the family.
The boat sails wonderfully well with its gaff rig. She points well, has real power on anything close to a reach, and has low heeling moment. White also drew a marconi rig, but I have no experience with it.
Almost ten years of sailing has exposed only one design flaw: We haven’t found a good way to add an outboard or other auxiliary power, aside from an oar. The transom rake is the main culprit. Electric motors can accommodate the rake, but they lack enough power to punch the boat into a real breeze. Side-mount brackets allow for a gas motor, but the motor swamps when the boat rolls. The stern-mount bracket used on the fiberglass 12 1⁄2 s built by Cape Cod Shipbuilding also tends to dunk the motor in any sort of sea. With all solutions, the motor needs to be removed for sailing and stored in the boat; otherwise, it fouls the mainsheets. Cutting an outboard well into the bottom planking has also been tried, but it’s very intrusive and it slows the boat. The best solution is just to sail off a mooring, plan well, and pay attention to wind and tide.
With the Flatfish design, Joel White followed the engineer’s maxim of not putting one extra piece of wood in the boat, and the designer’s rule of not placing one extra line on the drawing. The design does everything it’s supposed to do: It provides a sweet-lined, capable, transportable boat.
I’d certainly like to live in a house on a rock-lined coast with my boat on a mooring that I can see from my back window. I don’t. This boat’s combination of trailerability, good sailing qualities, and classic elegance (along with rental cottages) makes that world accessible. It’s a wonderful boat to sail off a mooring on the morning’s outgoing tide, take a picnic lunch, and catch the incoming tide as the breeze dies at the end of the day.
This article appears here as archival material. Boat plans ere available from The WoodenBoat Store, but are currently out of stock as of August 2024.
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It’s easy to lose track of time in an attic. None of the things stored in all of the attics I’ve known are needed for daily life and only a few of them, like Christmas decorations, will ever get used. What makes the things stored in attics worth keeping are memories. During summer family vacations in Massachusetts, I spent a lot of time in my grandparents’ attic. Behind a door in one of the upstairs bedrooms was a steep flight of stairs, painted white, that led to what was to me, as a young boy, a cavernous room. It stretched the full length of the house and had a vaulted ceiling, intricate with rafters and collar ties. The stillness of the space and the angled shaft of sunlight from a narrow sash window setting the dusty air aglow made the attic seem like a cathedral. What I remember most about the things stored there was my grandfather’s Army uniform, especially the stiff leather puttees, molded to fit the shape of his calves. It was one of the first things in my life that gave me a sense of history and the value of things that came well before my time.
The attic in my house is not nearly as grand, just a low wedge of space tucked under the roof on the north side of the house. While it is lined with kraft-paper-backed insulation, it is just as much a repository of memorabilia. Many of the cardboard boxes there are filled with photographs—prints from my teens and twenties, and slides for the years since then. There are so many albums, trays, and sleeves full of slides that I keep a light box on the floor, butted against a windowless end wall.
A few days ago, I stooped through the chest-high attic door to find something, I don’t now remember what, and sat down next to the light box. It comes on when I flip the switch for the attic lights, and the clutter of slides on the table gleamed with patches of color, like a crude stained-glass window. I was drawn to a group of warm pale-blue rectangles, slides I had taken during a 2002 kayaking trip to Palau in the Western Pacific.
I set a loupe over one, and as I leaned close and peered in, the tropical island waters and a palm-fringed beach enveloped me, as if I had fallen, like Alice, through a looking glass. I went from slide to slide, then pulled a box of slide sleeves, looking through the hundreds of images I had taken during five days of kayaking there with my friend John. Each look at Palau’s luminous sky and water lifted the weight of this oppressive winter.
Despite its location in the tropics, Palau had its own season of darkness in the fall of 1944. The Japanese held the archipelago and had fortified the islands with artillery and extensive networks of caves. Despite the stronghold’s dubious strategic value in the Pacific Theater, the American Armed Forces launched an attack on the morning of September 15, 1944, the first wave of what became known as the Battle of Peleliu, after the island at the south end of the archipelago. It was supposed to be a quick fight, but it went on for 73 days and cost thousands of lives. The assault was codenamed, prophetically perhaps, Operation Stalemate.
John and I didn’t reach Peleliu, where the worst of the fighting took place, but there were traces of the battle scattered among the islands to the north.
During the battle, bombing, flamethrowers, and firefights stripped Peleliu bare of its forests, but Peleliu is now as it had been before the war as are all of Palau’s roughly 340 islands. In the half century that had passed by the time John and I visited, the artifacts of war—steel and concrete—had yielded to time and decay and were already being overrun by trees and brush, seaweed and coral. The islands were exceedingly beautiful and peaceful. In the middle of the Rock Islands, John and I landed on Eil Malk Island and hiked a winding trail through dark woods to Jellyfish Lake. Sea water circulates through the island’s porous limestone to refresh the lake and yet the bedrock has isolated the lake from the Pacific Ocean for 12,000 years. The species of jellyfish that now inhabit the lake, having no need to defend themselves, evolved to abandon stinging tentacles. John and I swam underwater surrounded by them, being careful not to disrupt them. The brush of their delicate watery bodies was so soft and smooth as to be almost undetectable.
There was so much to see in Palau from our kayaks, during walks in the woods, and while swimming. The days passed by much too quickly and to sleep seemed like a missed opportunity. I spent a few hours one night walking an exposed reef by moonlight.
The slides in my attic, aside from briefly transporting me to a different, exceptionally pleasant time and place in my own life, brought some comfort in a winter whose long shadows have been further darkened by a pandemic and political strife. A broader view of history, offered by the woods and waters of Palau, holds a promise that, in time, enemies can become allies and battlefields paradise.
This past summer, as I was returning from kayaking to the public ramp at Port Hadlock, Washington, I saw a friend of mine who was studying at the Northwest School of Wooden Boatbuilding (NSWB), which is situated right next to the ramp. He told me that I should see a boat that had just been put up for sale by the school. I wandered over to the boat, which was sitting on a trailer: it was a piece of Maine, a John Gardner-designed Down East Workboat. Just three years before, I had moved from coastal Maine to the Pacific Northwest, so I well knew the boat and its traditional hull shape. I had been looking for a small motor launch ever since moving to this northern area of Puget Sound, and here was, to my mind, the perfect boat for my needs and certainly a practical boat for anyone wanting a solid and seaworthy small boat for coastal waters.
Working boats with this hull shape have plied the coastal waters of Maine for over a century. This Gardner version is 18′ in length, but stretch it out a bit and it becomes a Pulsifer Hampton 22 center-console inboard. Stretch it out a bit further to 20′ or 30′ or more, put a cabin and pilothouse on, and you have the iconic Maine lobsterboat. This hull design has evolved over the years in the Maine waters and boatshops to handle highly variable and oftentimes challenging coastal conditions, so I knew that it would be just right for Puget Sound. If you’ve ever seen a lobsterboat race, when heavy workboats can be moving at over 50 knots, you know that this is a capable design! Needless to say, I soon bought the NSWB boat. I named her MOON LADY, an English translation of my mother’s Chinese name, and to follow the Maine tradition of naming working boats after wives, mothers, sweethearts, and daughters.
Gardner drew the design in 1981, basing it on old photographs and measurements of an 18′ workboat from Washington County, Maine. He described the design as a double wedge, the first wedge being the sharp high bow and the second a wedge turned flat for the stern. This creates a practical workboat that has a foundation of a broad stern set firmly in the water to support the weight of a powerful outboard for speed, along with a sharp entry and planing hull for maneuvering easily through chop and messy currents. Its 18′ length and 6′ 4″ beam help make the boat seaworthy for coastal waters and give it plenty of open work space. Gardner describes the build in detail in Chapter 7 of the second volume of his Building Classic Small Craft.
The boat here, built by instructor Jody Boyle and his students at the NSWB, was constructed directly from Gardner’s instructions with few changes made to the design. It was lofted from his lines drawings and offset tables, then built upside down, with carvel-planked 5/8″ red cedar on flat, white-oak canoe frames 5/8” x 1-3/4″ on 8″ centers, as often used on the Washington County workboat. Gardner suggests that thicker, more typical frame stock could be used, and notes as well that the boat could be built lapstrake.
While MOON LADY has a white-oak transom, which was Gardner’s preferred transom wood, it is 1/4″ thicker than the 1-1/2″ stock he listed. The stouter transom does well supporting my heavier, four-stroke outboard motor or, for that matter, any of today’s more powerful outboards. The transom also has large quarter knees as well as a keel knee.
Instead of the 3/8″ plywood specified by Gardner for the foredeck, MOON LADY has tongue-and-groove cedar planks covered in Irish felt and painted canvas. The same cedar planks replaced the 1/2″ plywood indicated for the forward bulkhead. All the interior wood is oiled and there are no varnished surfaces, whereas most traditional Maine workboats are painted. For safety and security, Gardner specified a removable watertight panel for access to the bow compartment, but this build has louvered frame-and-panel doors instead, which help to air out the enclosed space. Gardner’s book had no information on seating arrangements beyond a pine 7/8″ x 10″ thwart at station 6, so Jody created a layout consisting of a single thwart with side benches on both sides running the full length of the cockpit. The plans call for 5/8″ pine floorboards with the center one removable to provide access for bailing, and a ceiling of pine or cedar from the floorboards to the risers.
This Down East Workboat is Coast Guard rated for six passengers and a 45-hp outboard, but I’m using a 2020 25-hp, four-stroke Yamaha. With this engine, the boat planes easily at 12 knots at one-third throttle and has a top speed over calm water of 15 knots. As I had expected, the boat is adequately seaworthy for a traditional skiff designed for coastal waters. In chop and small waves, the boat holds its line very well due to its full-length keel yet can turn smoothly and sharply as needed with a high degree of primary and secondary stability due to the broad tumblehome stern. Spray over the bow isn’t a problem except when plowing at speed through steep chop or boat wakes and, even then, is only a light spray. The boat can hold the full capacity of six persons in comfort and with plenty of extra space for gear. I’ve also outfitted the open section with four large, inflatable beach rollers secured under the side benches for flotation. The ample storage compartment under the foredeck holds much of the gear needed on a small cruising boat: extra lines, anchor, flotation, fire extinguisher, manual pump, portable toilet, tools, cushions, and life jackets. A 12V battery for navigation lights and two small bilge pumps are secured in the bow compartment to help keep the bow down by countering the weight of the motor, gas tank, and skipper in the stern. One of the modifications I made is adding oarlocks for emergency rowing capability.
As one can imagine for a boat of this size, it is easily moved on the road with a 1,000-lb load of both boat and trailer. I keep the outboard in place during towing and in its nearly fully lowered (third notch) position without bracing and for good clearance above the road. I and one other person easily launch or load the boat on its EZ Loader trailer.
I’ll use MOON LADY as a coastal cruiser throughout Puget Sound and the rest of the Salish Sea, while overnighting aboard as needed at anchor or at marinas. It’s a practical and safe boat for crabbing and fishing, as well. During the frequent light-wind periods of the summer months in Puget Sound, MOON LADY will tow my sailboat, an 18′ L. Francis Herreshoff Carpenter, thus extending that boat’s range in the Sound, the San Juan Islands, and even Canada’s Gulf Islands. With the workboat’s speed and interior space, it will do well as one of the support chase boats during the Salish 100 small-boat cruise in the summer on Puget Sound.
I never thought that one day I would be exploring Puget Sound with a boat meant for Maine, but thanks to the Northwest School of Wooden Boatbuilding, I have a Down East Workboat and look forward to many miles of pleasurable cruising. I heartily recommend this well-founded Gardner design. It’s an affordable and capable boat for protected coastal waters.
Denis Wang lives in the Puget Sound coastal town of Port Hadlock, Washington, as a recent transplant from mid-coast Bayside, Maine. Now retired and actively engaged in small-craft boating and permaculture gardening as hobbies, he was a researcher in oceanography and marine ecology as well as a science department administrator and teacher at independent secondary schools in Colorado and on the East Coast. Denis has been an avid sailor in both large and small boats for most of his life and has been an officer in the Down East and Puget Sound chapters of the Traditional Small Craft Association. Recently, he has been a volunteer in helping to organize the Salish 100 cruises of the Northwest Maritime Center in Port Townsend.
Denis would like to thank the student builders at the Northwest School of Wooden Boatbuilding for their fine work: Bill Billingsley, Nick Dighiera, Brandon Adams, Sam Trocano, Alex Ashley, Gabriel Partridge, Bobby Ferrar, and K Woolfe. During the project, which spanned more than six months, four students, on average, were working on the boat at any given time.
Down East Workboat Particulars
Length/18′
Beam/6′ 4″
Inside depth amidships/2′ 9″
Drawings, offsets, construction details, and descriptions were originally included as a nine-page chapter, “Down East Workboat,” in John Gardner’s Building Classic Small Craft, Volume 2, published in 1984 and now out of print. A more recent edition, Building Classic Small Craft: Complete Plans and Instructions for 47 Boats, combines Volume 1 and Volume 2, and is available from The WoodenBoat Store for $40.
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Many years ago, I was looking for a daysailer I could easily trailer, rig, and sail singlehanded. It had to look good, too, with some traditional aesthetics. Crawford Boat Building’s Melonseed Skiff fit the bill.
For over 30 years, Roger Crawford has been building his fiberglass version of the Melonseed Skiff in his small shop in Humarock, Massachusetts. He began when a decaying wooden boat, built to Chapelle’s lines in American Small Sailing Craft, was dropped off at his shop to be brought back to life. He restored the boat, took it sailing, and was so impressed that he wanted one of his own. He used the hull to make a mold he could build from, enlarged the cockpit, and increased the sail area. He has been busy building Melonseeds ever since, finishing them beautifully with teak rudder, tiller, rubrails, coaming, and floorboards, and varnished Douglas-fir spars. Anyone who has admired the lines in Chapelle’s book will recognize the low freeboard, hollow bow, curvaceous waterline, and enchanting tuck-up swooping from skeg to raked transom.
Crawford builds his boats stout, with 1.5-oz mat, 0.5-oz mat, 32-oz stitched roving, and 10-oz cloth, doubled in the bottom, stem, and keel areas; the skeg receives 14 laminations. The deck is end-grain balsa core laminated between layers of 1.5-oz mat and biaxial stitched roving, with a nonskid finish that looks quite a lot like painted canvas. Solid fiberglass (without balsa core) in areas where there are through-deck fittings such as cleats, pad-eyes and oarlock sockets, assures peace of mind for years to come. The hull and deck are bonded together with epoxy, polyurethane adhesive, and stainless bolts and screws. Overlapped like the lid on a shoebox, the result is a strong, torsion-free unit.
Crawford built his first 99 boats with the traditional scimitar-shaped teak daggerboard as recorded by Chapelle. Starting with number 100, the boats have a 1/2″-thick PVC centerboard raised and lowered by a simple pennant. He engineered the centerboard to have sailing characteristics as nearly identical to the daggerboard as possible. I have owned and sailed both versions and find a negligible difference between the two. The daggerboard trunk is entirely forward of the cockpit, whereas the centerboard trunk, at deck level, intrudes into the cockpit about 4″, an acceptable trade-off for the convenience of a board that self-stores, pivots when grounding, and offers infinite adjustment.
The shallow hull with a barn-door rudder that does not extend below the skeg makes this boat well suited to the shallows, and with a 6″ draft with the centerboard up, one can glide and slide over some very skinny water indeed—perfect for creek crawling.
Crawford has taken great pains to keep the boat as simple as possible, which makes getting on the water an easy proposition. Rigging is straightforward and the free-standing rig makes getting underway quick. The sail is kept furled around the mast and together they weigh about 15 lbs. Stepping the mast is a simple matter of inserting it through the partner on deck and into the step below. Hang the rudder on the gudgeons, insert the tiller, and reeve the single-part sheet through the block on the rudderhead. Unfurl the 62-sq-ft sail and insert the sprit end into the becket at the peak and push up to spread the sail. Cleat off the snotter with enough tension to give a crease between tack and peak (it will disappear when the sail fills). Clip the sprit-boom snap hook to the clew and tension and cleat the boom snotter. It’s customary to rig the sprits on opposite sides of the sail so that the asymmetry averages out. The sprit boom seems to cut into the set of the sail more than the sprit, making the favored tack the one with the sprit boom to windward.
When you board, either from the dock or the shallows, step toward the center floorboards. The boat can feel a bit tiddly until the firm bilge submerges. Once you’re seated on the floorboards, the boat is very stable.
I find the ideal trim for singlehanding is to sit about even with the oarlock sockets, adjusting fore or aft according to conditions. The tiller comes naturally under your hand. Those accustomed to mid-boom sheeting will quickly adapt to the sheet running forward from the block on the rudderhead to your hand.
Once in the cockpit, there’s little need for moving about, other than changing to the windward side when tacking. This is not a boat that you stand up and walk about on. It wants your weight low and inside the cockpit. Setting sail is most easily done on the beach or the dock because the hollow bow and fine lines make it skittish if you go forward on the deck. I have done so many times, to furl or set the sail, or re-tension the snotter, but it does require good balance. If going forward is necessary, it’s safest to sit or kneel on the deck. Another person sitting aft in the cockpit will keep the stern down and help to steady the motion.
The cockpit is a little over 6′ long—big enough for two people and a picnic. There’s room up under the deck for a cooler, anchor, and other gear, and a 10″ x 10″ hatch gives access to the forepeak. The 7 -1/2′ oars store under the side decks. At 5′ 9″, I fit comfortably with my back against the coaming and feet in the lee bilge, with the reassuring sense that I’m down in the boat, not on it. Because seating is on the floorboards, knees, hips, and lower back need to be supple enough to tolerate that position. When sailing with a crew, the usual arrangement is to sit on opposite sides, facing in. This balances the boat nicely in most weather. In stronger wind, both skipper and crew sit on the windward side of the cockpit. The boat is very responsive to trim and weight distribution, so adding the weight of the crew to windward makes the boat stand up well to more vigorous breezes.
Despite the low-aspect, low-tech rig, the boat’s windward ability may surprise some folks. Although it doesn’t point like a Laser, it goes very well to weather. The spritsail doesn’t like to be strapped down too hard, and if it is, you’ll feel the stall. Give it a little room to breathe and the boat comes alive. It’s easy to find the sweet spot because the feedback from trim changes is immediate and obvious.
As the boat responds to a puff, the weather helm encourages it to head up, making it easy to naturally climb the lifts. Sailing fairly flat gives the best boat speed, but I find sitting out to windward in anything less than a Force 4 is unnecessary. In higher winds, sitting on the deck keeps the boat on its feet, reduces leeway, and maintains speed. When working to weather in a tie-your-hat-on breeze, you’ll need your foulies as spray sweeps the deck and cockpit and is tossed up into the sail. You’re plugged directly into the experience through the direct connection to sheet and tiller and the motion of the boat; the low freeboard and spray contribute to the sense of speed and adventure.
Because of the boat’s light weight, approximately 230 lbs all up, there’s little momentum to punch through steep chop hard on the wind. Easing the sheet and your course off the wind a bit will increase speed and deliver a palpable in-the-groove feeling. While it may require an extra couple of tacks, you will arrive at your windward goal far sooner than if you try to jam your way to weather.
When tacking, the natural weather helm does most of the work. I usually release the tiller with a slight nudge and let the rudder swing of its own accord. As the bow turns through the wind, I scoot over to the other side of the cockpit. By that time, the bow is falling on the new tack and I center the tiller and trim the sail. Coming about in a big chop requires that you sail through as opposed to relying on momentum to carry you.
If you get caught in irons, you won’t be there long. Because the mast is in the eyes of the boat, you can easily back the sail to swing the bow off. If you raise the centerboard and back the sail, the boat will pivot in place, a useful tactic when maneuvering in tight spots.
This boat will spoil you for jibing. The sprit-boom keeps the foot from rising and the single-part sheet runs smoothly through the block as you ease the sheet at the end of the jibe. Jibing is a casual affair in moderate conditions and doesn’t require much sheet tending. Higher winds demand more prudence and control. In Force-5 conditions, I opt for the “chicken jibe,” looping to windward to bring the boom across, then falling off on the opposite downwind tack. One of the benefits of the free-standing, rotating mast is that the sail can be luffed out forward of the mast to flag out ahead of the boat in certain situations, like easing into a lee shore landing in mild conditions.
Control downwind is good, as the sprit-boom exerts its self-vanging effect to limit the twist in the sail. There is, however, a golden rule: To prevent the white-knuckle “death roll,” don’t allow the peak to go farther forward than perpendicular to the boat’s centerline. Leaving a bit of centerboard down helps maintain directional control, and I usually scoot aft a trifle to give the rudder a little more bite. The tucked-up quarters and raked transom prevent the stern from dragging.
The hull’s theoretical maximum speed for the 12’ waterline is 4.6 knots, and the boat seems to get up to hull speed easily. I can’t confirm this with GPS data, but I once sailed on one tack for 8 miles, closehauled, in a 12–15 mph breeze. I loosely timed the leg, and the resultant math showed a bit over 4 knots, which I thought impressive for sailing closehauled into a chop. The boat really struts its stuff on a reach, with the bow wave bubbling along the side deck. In the right conditions running before the wind, it’ll plane for short distances, and sometimes surf down the backs of the waves.
Crawford’s early boats were equipped with reef points. Reefing can be done, but it requires rigging a halyard and longer snotters which complicates the simple setup. In those early years, Crawford decided that the reefpoints were superfluous because the boat is so capable in such a wide range of wind speeds. No one was using them anyway. In reality, if you think the boat needs a reef, you probably shouldn’t be out there. Scandalizing the sail by dropping the sprit and letting the peak of the sail fold over is useful in a hard chance, but pointing ability will be compromised.
A 10–15-mph breeze is magic, but the Melonseed will ghost in a whisper and tromp happily to windward throwing spray in 20. I have sailed in mid- to high-20s with gusts over 30 and the boat took it in stride.
Capsizes are rare, and all I know of were caused by a cleated sheet that wasn’t freed quickly enough in a gust. The small clam cleat on the tiller can be used to relieve your grip on the sheet, but the sheet should stay in hand in all but the mildest breeze, cleated or not. The full bilges do a good job of resisting heeling once submerged, and the peak of the sail tends to depower as it twists off a bit in the bigger puffs. Solid water creaming alongside the coaming is your cue to ease off. But there is a point of no return, when solid water over the coaming fills the cockpit and you wish you had eased the sheet. The boat has flotation under the decks and will float upright when swamped.
On those days when the breeze is elusive, I “power-sail” through the flat spots with a few strokes of the leeward oar. It’s also possible to row off a lee shore in moderate conditions with the sail set. You can leave the sheet unclipped to allow the sail to luff without the chance of it wrapping around the tiller. Be prepared for the foot of the sail to take a swipe at your hat.
Although you can row with the rig struck down inside the boat—the 10′ spars fit entirely under the decks—I prefer to leave the rig ashore if I’m rowing just for the pleasure of it. The boat carries well between strokes, tracks well, and isn’t knocked off course by a cross-chop. There is no thwart—sitting on a couple of cushions puts me at the right height. Crawford has an optional foot brace that bolts to the floorboards with wing nuts and can be positioned specifically to suit the rower.
Since I keep the boat in the garage and haul it to the water for each sail, ease of trailering is an important consideration. With the spars stowed in the boat alongside the centerboard trunk, the Melonseed makes a neat, streamlined package for towing. The boat and trailer total less than 500 lbs, so it’s an easy pull even for a compact car.
The combination of easy trailering, simple rigging, sure-footed wholesome performance, and traditional aesthetics have made Crawford’s Melonseed Skiff the perfect daysailer for me and has delivered decades of enjoyable, uncomplicated time on the water.
Roger Rodibaugh, despite living in landlocked central Indiana, has been sailing for 50 years. He credits the sailboat on top of his first birthday cake with starting it all. He recently retired from chiropractic practice and sails his Crawford Melonseed Skiff, THREE CHEERS, on Summit Lake and Prairie Creek Reservoir. He’s looking forward to the sailing season of 2021, which will be his 30th in a Melonseed.
The afternoon sun dipped behind a tight row of cottonwoods on the landing a mile up the Willamette River from downtown Corvallis, Oregon. It was the first weekend of October, and a few beams of light slipped through the leaves to reach the floating dock where I was packing CLARABELLE, my 17′ fiberglass Jersey Skiff. Despite the shade, my shirt was damp with sweat and stuck to my skin. I stowed two ice chests, a large sack of briquettes, a stove, a stovetop espresso maker, a few bottles of wine, oars, a sleeping bag, and a bivy sack. Jon and I would be well-stocked for our two-night, 37-mile row downriver to the town of Independence.
At the end of the dock, a lanky teen in a baseball cap and knee-length shorts cast his fishing line next to a tree that had fallen into the water, reaching a few leafy limbs and branches out over the river. Across the ramp from the dock, a rocky wing dam angled into the river to separate its swirling current from the still water at the foot of the boat ramp. A bare-chested man with graying brown hair waded in waist-deep water along dam, his arm draped over a blue and black water tube to steady himself over the uneven rocks. His companion, a woman in blue shorts and a white shirt, was sprawled over her tube, gazing into the water, her face inches from it, while spinning in the eddy at the edge of the river’s swift current.
Jon had left CLARABELLE’s trailer in the parking lot above the boat ramp, and again backed his jet-black panel van down the ramp. His boat, a 10′ plywood Union Bay Skiff he and his wife had built, was small enough to fit entirely inside the van. He had named it H2ONUS after the baseball Hall of Famer, Honus Wagner.
The stumpy skiff emerged already packed with oars, dry bags, axe, and a charcoal grill. We slid the boat into the water, Jon tossed me the painter, and I tied H2ONUS in front of CLARABELLE while he parked the van.
Jon trotted down the gangway and climbed aboard H2ONUS. He pushed away, scraping his starboard oar across the dock. The skiff drifted toward the wing dam, and Jon took a few gentle strokes to spin the bow downriver. Once past the rip-rap, he reached aft to take a full stroke, and as he lifted his hands at the catch, his knuckles caught the lid of the charcoal grill. It flipped over the gunwale, landed in the water upside down, and floated in the eddy. With a laugh, he backed up and retrieved it, then with the long strokes from his sliding seat launched himself into the mid-river current.
CLARABELLE’s gear was still a mess; I’d sort it out when the river began to carry me downstream. I clambered on the foredeck, kicked off the dock, and drove her stern-first through the eddy. I soon caught up with Jon, who had stopped rowing to secure the grill lid with a bit of cord.
Away from the riverbank’s shade, the slanting afternoon sunlight stung my bare arms. I unrolled my shirt sleeves down to my wrists and took a long drink from a six-liter water bag. Black cottonwood, white alder, and willow leaned out from the banks; their leaves ruffled in the light wind and muffled the sound of traffic on a highway leading to downtown Corvallis. Jon and I traded leads, but stayed close enough to carry on a conversation. The Willamette curved through a bend from northwest to northeast, at its apex taking us past the Marys River, a tributary flowing into the Willamette from the left bank, and then under the steel girder highway bridge set on four concrete pillars. Water roared as it rushed past the logs caught on their upriver edges. Cars sped by above us. Annoyed by the noise, I bent my oars to put the racket behind me.
Beyond the bridge, I caught glimpses of buildings in Corvallis through gaps in the trees and brush on the left bank. A mile beyond the last bridge, the river followed a sweeping turn east for several miles, and the hiss and rumble of the traffic faded astern. On river right floated the long dock and white twin-hulled coaching launches of the Oregon State University crew, and for the next 1-1/2 miles, between the trunks of the trees lining the bank, I watched golfers traipsing over rolling hills of close-cropped grass.
A single scull approached us and when Jon and I drew even with it, the sculler turned from his gaze over his slender shell’s stern. We waved. He acknowledged us with a nod, keeping his hands fixed on the oar handles. “Wanna race?” asked Jon, deadpan. “I’m just learning,” replied the young man, sounding apologetic, and missing Jon’s joke. Jon and I rowed across to the left bank to a shallow bar. Below us pebbles sparkled like gold as the light played through ripples in the water.
Well downriver, more white-hulled racing shells flocked around a motor launch where the coach barked something I guessed was a starting command. In a few minutes, a dozen sculls raced past us, the launch close behind.
Four miles of more or less straight river ended in a mile-long U-turn called Half Moon Bend. Dark green water carved the outside bank, baring the roots of the bushes that grew on top of it.
Even if Jon and I were to stop rowing and drift, the 3-mph current would still have us in Albany by sundown, well before our rendezvous to pick up our friend Hart the following day. I checked the satellite view on my phone’s Google Maps. A second mile-long U-turn, sending us eastward again, would take us to Tripp Island, and by the time we’d finished studying the map, the island was in view. We shipped our oars, rafted the boats together, sipped wine out of enamel cups, and let the river do the last of the day’s work.
We landed at the head of Tripp Island, a 1/3-mile-long, lens-shaped island that split the river. Set back from the shore uprooted trees were piled in a jumble a head higher than my 6′ 6″ frame. Long strips of bark hung from exposed trunks bleached white by the sun. Shrubs crowded the slender north channel, reducing it to an inlet. It would have been a fine spot to camp except for the roar of a gas-engine pump lifting river water to a field beyond the trees.
We drifted in the 90-yard-wide main channel to the downriver end of Tripp Island, where the only sounds were of rippling water. The downstream end of the filled-in north channel created a protected cove; our bows cut through its still water and then several feet into a mat of floating algae before grating on the gravel shore.
I waded into the calf-deep water blanketed with thousands of greenish-yellow fernlike plants so small a half dozen could fit on a quarter. Their pale tips glowed pink in the setting sun.
We had brought bivy sacks instead of tents, so making camp was easy. I scoured the bar for firewood while Jon poured briquettes into the grill and squirted a stream of lighter fluid over them. He pulled homemade enchiladas, green chile sauce, and golden-tasseled ears of corn from the cooler. All of it went on the grill. The enchiladas sizzled in a cast-iron pan, chile sauce bubbled in a stainless-steel pot, and the corn husks smoked over the glowing briquettes. After sundown, I mentioned that the only thing missing was something sweet. Jon opened the cooler and produced a half-gallon freezer bag stretched full of his wife’s homemade chocolate-chip cookies.
I woke up long before morning. Pinholes of starlight pierced the sky, and the moon, not quite full, glowed through the clear cloudless night to shimmer on the water. At dawn, as I emerged from my sleeping bag, dew slid down the creases in my bivy bag. A blanket of fog blended the trees across the river into a single gray silhouette. I checked my phone for a message from our friend Hart. He had been on the road since 4 a.m. and was still a few hours away from meeting us in Albany. I made several rounds of coffee while Jon cooked eggs and bacon to put in between English muffins with cheese.
After breakfast, we slid CLARABELLE and H2ONUS into the fog. We passed a stretch of black basalt rip-rap along the river’s edge. A blue heron, disturbed by our approach, leaped downriver and did so several more times as Jon and I made our way downstream. Two kingfishers darted over us with a trill. As the fog ascended we pulled just hard enough to warm up without building up a sweat. Lost in the rhythm of the strokes, I put several hundred yards on Jon, then stopped to let him catch up. A silvery fish, larger than an oar blade, leaped from the river, twisted in the air, and slapped down with a splash.
We approached the confluence with the Callapooia River where powerlines crossing the Willamette spanned slender lattice pylons built on top of massive, rusting, twin-column piers that once supported a bridge. Hart was standing on the sandbar and had with him a dry bag, sleeping bag, and paper grocery sack. Jon and I landed the boats and waded ashore. Hart showed us what he’d brought in the sack: steak, fresh German strudel, and a bouquet of gold, coral, yellow, and maroon dahlias from the farmer’s market in Albany. He handed the flowers to Jon and wished him a happy 40th birthday.
Since Hart would join me in CLARABELLE, I repacked the equipment and adjusted the sliding seats and stretchers so both of us could row. I had brought two seats, each equipped with eight roller-blade wheels. The seat I’d been using had been squeaking for the past few miles; a quick submersion always quiets it, so I dunked it in the water, but as I pulled it from the river one wheel was missing. It was underwater lying on the brown rocks in the middle of a sprinkle of white Teflon-rod bearings. I collected the pieces and looked at the seat. A worn-out nylon washer had let the wheel slip off the axle bolt. CLARABELLE would carry on with just one of us rowing.
I plopped into the stern with my legs over the sheer and let my toes drag in the water. Hart took to the oars and rowed us under a pair of steel bridges that connect the tree-lined fields on the west side of the river with the wooded bluffs of Albany. The tops of old brick buildings poked up just above the treetops.
Downriver from town, the bank sank down into low farmland. At the cutbank of the first bend a tree had fallen into the river. Stripped of leaves, the branches waved up and down in the current, a ghostly greeting. We tied the boats together and let the Willamette weave us through the bottomlands at its own pace. The fog continued its ascent, and by the time we reached the first island, 6 miles downriver from Albany, the sun was high in a cloudless sky.
Thick brush and prickly blackberry brambles covered the island, and we wandered around with a machete, looking for a path to the wooded center simply for exploration’s sake. We rowed to the south end, a skinny half-flooded meadow jutting into the river. The gentle current draped green wispy string algae over freshwater mussel shells as long as my finger. Their incandescent mother-of-pearl sparkled in the sun.
Jon was eager for me to try H2ONUS to see what I thought about his sliding-seat rowing rig. He hopped in CLARABELLE, and Hart moved to the stern. I planted myself on the carbon-fiber seat in H2ONUS and set my feet against the two pieces of lumber Jon used as a stretcher. It rested on a backpack in the stern and was otherwise unattached to the skiff. On the port side sat the charcoal grill. I took a few short strokes with the 9’ hand-me-down oars. The finish brought the handles in below my belly button and the blades just cleared the water on the recovery. I lengthened the strokes and at one catch, just as Jon had, I caught my knuckles on the edge of the grill lid and tipped it into the river. I retrieved it, rowed with short strokes to CLARABELLE, and tied the boats together. I asked Jon if he would let me shorten his oars and he agreed.
Jon rowed CLARABELLE with me in H2ONUS in tow until we reached the Willamette’s confluence with Santiam River. The satellite view on my phone app showed two sandbars that looked like they’d make a suitable campsite, but thicket covered half the island and ran right to the edge of the bar. Across the river from the bar was a rocky beach. We landed there and found the rocks covered with a layer of dusty gray silt. Across the river was a dark overgrown chute of the smaller Little Luckiamute River. We stayed only long enough for Hart to change positions with me. Jon continued to row.
On river left, the bottomland rose to bluffs. Clumps of bushes sprouted where the bluff met the river, and layers of yellow and brown hard-packed soil rose 30′ or 40′ to a sagging cap of green ivy and blackberry with a crown of evergreens towering above us and shading most of the river. One of the trees leaned on the verge of falling into the river. We had floated in the shade for a half mile before the Buena Vista ferry came into view. It was squat boat with a low pilothouse painted white, yellow, and blue. Wires spanning the river supplied the power for the ferry’s electric motors, and a block rolling along a cable had a leash attached to the ferry to hold it against the current. Its only passenger was a black truck heading east. Once the ferry was clear of mid-river, Jon pulled hard to get us past the ferry while it unloaded. To the west we caught a brief glimpse of Buena Vista—a small scattering of buildings up a hill from the west ferry landing, backlit by the setting sun.
Just 100 yards downriver from the ferry, Wells Island stretched on for the better part of a mile. It had no visible campsites. A mile and a half farther we reached Whiteman Bar, a wooded island on the left bank with a choked-out channel between it and the mainland. Next to it was a mid-river rocky bar. There were two open channels either side: a short channel between it and the island and a longer one between the bar and a sweeping bluff, river right. The current pulled us to the short channel where several dead trees rested with roots reaching from the water like claws. Water rippling against rocks and branches broke the tranquility of the quiet river. I untied H2ONUS from CLARABELLE, and we shot single file through the gap between the fallen trees.
In the slower-moving water downstream from the channel, we pulled ashore to make camp on the bar. Baseball-sized rocks lining its shore made walking a challenge; the high ground was covered with sparsely leafed scrub. I scoured the 300-yard-long islet for driftwood for a campfire while Jon and Hart fired up the grill and cooked the steak Hart had bought. We ate it on a mound of rice and vegetables, finishing dinner at sunset. Long after we went to bed, a train woke me. Although the tracks were 1/2 mile away beyond the right bank, it sounded like it would roll right over us. After it passed, only the cries of an eagle reached across the river.
On Sunday morning, I woke in my bivy bag to fog, again. Before I was fully awake, a canoe with two men waved a good morning as they paddled past in the silvery mist. Jon fired up the grill, and coffee and breakfast sandwiches soon followed. I double-checked that Jon would let me shorten his oars. He gave the okay, so I lopped off 6″ with an axe, then carved new handles.
Independence was 6-1/2 miles away. Hart rowed CLARABELLE while I sat in the stern. A few beavers passed us with tiny wakes fanning out from their heads. A few miles in I asked Jon how he liked the oars. He wasn’t sure, but I was confident he’d grow to like their shortened length. A doe peered out from the brush on Judson Island, an eagle watched us from atop a telephone pole. The fog lifted to a low overcast.
After skirting the mile-long curve around Murphy Bar, the river swept to the right to run north to the town of Independence. A lone bridge with pale-green girders set on concrete piers made open with pointed Gothic arches spanned the river and a wide bar extended from the left bank. A few minutes after rowing under the bridge we passed a riverside park and pulled ashore at our haulout, a wide sandbar extending from the trees lining the riverbank. A light rain began to fall, leaving dark speckles on the sand. We had caught the last warm sigh of summer; the Willamette would flow without us into autumn.
Jordan Hanssen is the author of Rowing into the Son, his story about setting a Guinness World Record while winning a rowing race across the North Atlantic. Adventures by boat have taken him up and down the West Coast, down the Mississippi and Rio Grande, and to Alaska, Hawaii, and Panama. On one adventure he was briefly lost at sea. With his rowboat, CLARABELLE, he leads history and birdwatching tours on Seattle’s Lake Union. His pursuits are noted on his website.
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.
Creating a model of a boat before building it is a common procedure, and one I find very useful. For a 23′ boat, I chose to build a 1:4 scale model; this worked great since the 7′ 8″ model was big enough to use as a tender. For a nesting kayak that I designed, I started by building a full-sized model (also known as a mock-up) out of cardboard, to test for accuracy before cutting expensive plywood. The cardboard parts would be used for patterns.
My latest project is a 17′ pocket cruiser. The design challenge was to create accommodations for two with an acceptable level of comfort. Working with drawings and scale models was not going to definitively prove the success of the design or the many small construction details that would need to be considered when building the finished boat. My solution was to build a mock-up strong enough to climb aboard.
I made drawings and a half-hull model and then drew the frames full-scale. To begin the construction of the model, I gathered a supply of cardboard and scrap wood. As when building most boats, the keel and stem of my model were constructed first and then the frames set up on the keel. At this point, the mock-up departed from the traditional boatbuilding sequence. Instead of planking the hull, I constructed all of the interior components. The advantage was that none of the interior components had to be measured or scribed to fit the inside shape of the hull; they could be left to extend outside the hull between the frames and then marked for trimming using battens sprung around the frames.
The mock-up made it possible to sit in the cockpit and cabin as well as work out the building sequence and many small construction details. The many changes and improvements I devised in the process made the mock-up well worth the effort. The original design had a flat bottom intended for navigating very shallow water. The final design was changed to a V bottom to provide better performance in choppy seas and move the ballast closer to the centerline.
I purchased a trailer to fit the model, ensuring that there would be no surprises when the finished boat was loaded. Placing the model on the trailer revealed that there would not be enough clearance under the garage door to rig a hinged mast. The cabin roof was lowered as a result without much sacrifice in cabin headroom.
As the building progressed, the stem went through more changes than any other part of the mock-up. Seeing it full size, attached to the boat, and in three dimensions was a distinct advantage over drawings. I added a bowsprit to create more sail area forward and provide the more traditional look of a gaff-rigged sloop.
With most design and construction details worked out, I disassembled the mockup and set the parts aside to be used as patterns, which included truss-like patterns for the planks. The building of the actual boat is under way. The benefits of building a mock-up have provided invaluable experience. I’ve been able to proceed with confidence this second time around knowing that FREEDOM, as the boat will be christened, will meet all expectations. Only her sailing performance remains to be discovered.
Tom Hepp has spent most of his life around boats and water. He is a veteran of the U.S. Navy and Merchant Marine and has worked professionally as a boatbuilder for over 10 years. He spends summers on the coast of Maine and winters near the St Johns River in North East Florida. He designed, made cardboard mockups of, and built two take-apart pirogue-style boats (see “Nesting Boats”) to take in his van during summer vacations.
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Small boats often require a variety of sails, covers, ditty bags, straps, and other fabric accessories that have grommets—metal rings that protect holes in the material and whatever cordage runs through them. Plain metal grommets were introduced around 1830 to replace sewn eyelets, and in 1883 William Wilcox developed a new type, the spur grommet, which quickly became the standard for maritime use.
Spur grommets can be put under loads that would tear out plain grommets and can be set in sailcloth, canvas, leather, webbing, and many other materials. They have two parts: the grommet itself, which has the barrel that is inserted through the material, and the washer. Spur grommets are made of thicker metal than plain ones, and the barrel is longer to accommodate thicker material. The washers have small triangular teeth that puncture the material when the grommets are installed, and the grommet perimeter has a rolled rim that captures the washer spur tips as they are bent outward.
Plain grommets and spur grommets both come in numbered sizes, but for any given size, they have different shapes and dimensions so each type requires a dedicated die set. While plain grommets are designed for light-duty use on thin fabrics, spur grommets require a minimum thickness of material to take a tight set. The Sailrite website lists both the minimum and maximum capacities, expressed in decimal inches as well as layers of Sunbrella fabric required. In applications such as reefpoints, where there aren’t multiple layers of sailcloth, reinforcing panels should be added, both to strengthen the area and provide the three layers the grommet needs for a tight fit. Common spur-grommet sizes are #0 (1/4″), #1 (5/16″), #2 (3/8″), #3 (7/16″), and #4 (1/2″). The dimensions given in fractions of an inch are the inside diameters of the grommets before installation. That diameter is slightly larger after installation. For our small boats we use #0 for sail lacing rings on our Sunfish, #1 for reefpoints, and #4 for sail head, tack, and clew grommets as well as tie-down points for boat covers.
We punch holes for our spur grommets with a hole cutter, set on a rubber cutting mat. We use our 3-lb Barry King nylon mallet to drive the setting tool of the die set and have, with practice, developed a feel for the force and number of strikes to set the grommet tight without overdoing it and making the outer ring cut the fabric. If you foresee a lot of grommet setting in your future, you might consider splurging for the W-1 C. S. Osborne hand press.
There are many applications for grommets in the gear used for boating, from sails to covers and gear bags. Spur grommets—and the dies to set them— cost more than plain grommets but are far more secure than plain grommets and just as easy to install.
Audrey and Kent Lewis mess about with their small boats in the shoal waters of Northwest Florida. Their boating adventures are logged at Small Boat Restoration.
Spur grommets and the tools needed to install them are available from Sailrite, C. S. Osborne, Stimson, and other suppliers
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The best gear for small boats is compact and serves more than one purpose. My galley box, for example, stores my cooking supplies and shields my stove from the wind, serves as a slip thwart for rowing, and is part of the platform for sleeping. The Multi-Fuel Stove from nCamp is compact and has just one purpose, cooking, but does so using many different fuels, whether solid, liquid, or pressurized gas. Its versatility is a welcome addition to my outdoor adventure kit.
The stove is made of aluminum and stainless steel, weighs 30.4 oz, and is well designed and sturdily built. Its top measures 9″ x 6-1/2″, it is 6-5/8″ tall when in use, and just 2″ tall folded. The aluminum legs provide a steady base that’s not prone to tipping over. A telescoping combustion chamber, made of six concentric stainless-steel rings, works like an upside-down version of the plastic drinking cup I had for backpacking when I was a kid. The bottom of the chamber is a circle of stainless steel, perforated for airflow. In its center is a 1/2″ hole to accept the burner head of an adapter to fuel the stove with a gas canister.” hole to accept the burner head of an adapter to fuel the stove with a gas canister.
The adapter has a 12″ stainless-steel-clad hose that connects the burner head to a canister fitting, which is equipped with a valve. The threaded fitting is compatible with propane/isobutane canisters. That type of canister isn’t one that I have used with my other stoves or torches, and I wasn’t thrilled with the prospect of adding to the ever-growing collection of canisters I have for cookware and metalwork. Fortunately, there is a wide array of adapters that make it possible to connect almost any kind of gas stove to any kind of canister. I bought one for the propane cylinders I use for torches and stoves, and another for the butane cartridges that fuel my other camp stoves.
I did boil tests with the nCamp adapter’s valve wide open and timed how long it took to bring 16 oz of water to a rolling boil. The propane/isobutane cartridge that the stove is designed for took 3:30 (minutes:seconds), the butane was slower at 5:20, and the propane was faster at 2:45. The propane was notably louder and, I suspect, being delivered at a significantly higher pressure.
The combustion chamber, with the burner head removed, will burn almost anything that will fit through the 2-5/8″ opening at the top of the stove. A DIY ultralight alcohol stove made from a standard 12-oz soda can will fit with just enough room to spare. I primed one of mine outside of the nCamp stove, blew it out, and set it in the stove while raising the bottom of the combustion chamber to receive it. The boiling time was a quick 2:40. (It was my first DIY alcohol stove and I had drilled burner holes much larger than the standard size, which are poked in with push pins.) The bottom of the chamber didn’t get hot, so it can be pushed up by hand for the flame to be blown out.
Wood burns cleanly with little smoke once the fire gets going and makes a small but pleasant contained “campfire” after dark. With twigs and Port Orford cedar kindling fueling the stove, 16 oz of water boiled in 7:30. The combustion chamber goes through wood quickly and I fed the fire a couple of times as the water was heating up.
The stovetop has six molded-in supports that elevate the cooking pot 3/8″ to give the fire room to breathe. With some of the fires I made in the stove, that didn’t seem to be quite enough and the fire went from burning cleanly without a pot in place, to producing a lot of smoke with the pot over the hole. And the pot bottom would get a coating of tarry soot, a sign of incomplete combustion. Rubbing bar soap over the bottom of the pot before use made any soot deposited easier to clean.
Unlike canister gas and alcohol, wood creates a lot of heat at the bottom of the stove, enough that the stainless-steel rings of the combustion chamber begin to glow a dark red. A good measure of that heat is radiated downward and will scorch whatever surface the stove is set on unless the legs are elevated or something heat-resistant is set under the combustion chamber.
The nCamp stove doesn’t have a built-in igniter, so you’ll need a sparker, matches, or a lighter to use it. But if you have a lighter with you, you can leave the fuel canisters and adapters in the boat or in camp, tuck the folded stove in a day pack, and have a hot meal and hot drinks anywhere there are dry twigs—and enjoy a small enclosed hand-warming fire when the stove isn’t being used for cooking.
Christopher Cunningham is the editor of Small Boats Magazine.
The Multi-Fuel Stove, with adapter, is available from nCamp for $69. It is also carried by online retailers.
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.
John Carswell retired to Jekyll Island, a 7-1/2-mile-long barrier island on the coast of Georgia. With gentle slopes of white sand on its Atlantic coast and creek-laced salt marshes on its western side, Jekyll is surrounded by shallow water. When John and his wife Dorothy relocated there, they brought a boat with them, a Princess built in 1932 by the Thompson Brothers Boat Manufacturing Company of Peshtigo, Wisconsin.
John had been rowing an aluminum johnboat for five years when he bought the aging Princess in 1985. It was far prettier than the johnboat even though the long-neglected cedar-on-oak hull had been sheathed outside with fiberglass, which was peeling away from the strip planking, taking the green paint with it. The interior varnish was cloudy and the oak frames were black along the punky keelson. John rowed GREEN HERON, as he named the boat, for five years on the lakes of central Florida and later, after a move to Washington, D.C., another 10 years on the Potomac River and its tributary, Piscataway Creek. John estimates he rowed GREEN HERON between 3,000 and 4,000 miles.
The boat was already hogged and leaking when he brought it to Jekyll Island and, in the five years he rowed her there, the hull deteriorated to the point where it required bailing four times for every mile traveled. After 80 years of service, GREEN HERON was beyond saving. In 2012, John armed himself with a saw but he couldn’t bring himself to put his old friend in the dumpster; it’s still under the eaves at the back of his house.
John wasn’t about to give up on rowing. For decades it had provided the conditioning he needed for a troublesome lower back. He decided that he would build his next boat. He had a shop and tools, but beyond working for a while framing houses, he had no real woodworking experience: “I just fixed old things,” he says, “I did not build new things. I was most definitely unprepared; I didn’t know how to sharpen a chisel.” And though he had fixed at least a dozen old boats, he was at a loss as to where a new one begins. He bought books, among them Building Classic Small Craft by John Gardner and started reading WoodenBoat. The study in itself was in some ways as therapeutic as rowing: “After a couple of years of retirement, my brain needed adventure as much as my body needed a rowboat.”
He was drawn to the Whitehall type, imagining it as easily driven under oars as GREEN HERON, and likewise easily equipped with a sliding seat, but larger, capable of taking his son fishing. His recalled that his son suggested he should consider having a motor “because eventually I would get too old to row home.”
Browsing through back issues of WoodenBoat, John was intrigued by Robb White’s 2006 article, “Rescue Minor: A shallow-draft motorboat.” White lived in south Georgia and, like John, needed a boat well suited to those shoal waters that extend south from Jekyll Island and into northern Florida. Photographs in the article show his 20′ adaptation of the original William Atkin design speeding along just a boat length from a sandbar in water so thin that the bottom is clearly visible. Another photo shows the boat with its box keel resting flat on the intertidal flats, with one blade of its propeller just visible above the sand, the other blades hidden by a hollow in the hull.
Atkin had designed the Rescue Minor for plywood construction and a hard-chined hull; White strip-built his version with complex curves instead, and incorporated a distinctive tumblehome stern. The plywood version would have been much easier to build, but John was taken by White’s curvaceous interpretation: “I did not worry much about the fact that Robb White had built dozens of boats and I had built zero.”
Rather than working from plans—they were available for the Atkin design, but not for the White—John started with a half model he carved, not with waterline lifts but with a horizontal stack of bread-slice sections.
SKIMMER has two transoms: an inner one that gives the hull its watertight integrity, and an outer one built as a grating that drops down like a landing craft’s bow ramp. John used to slip over the side of GREEN HERON to go swimming on the Potomac, then clamber back aboard over the transom. That was 30 years ago; John opted to build SKIMMER with this easier way to get back aboard. Like GREEN HERON, SKIMMER was outfitted with a sliding seat—rolling, actually, on 4″ wheels—and oarlocks and 10′ ash oars salvaged from GREEN HERON.
John rowed SKIMMER for two years while he saved money for her inboard motor. When the time came, he bought a marinized Kubota 13-1/2 hp diesel and installed it under an engine cover that also serves as the driver’s seat. The instrument panel is neatly tucked away in the keel, and the starboard side of the engine box is equipped with a removable whipstaff for steering.
John usually launches SKIMMER in the Jekyll River on the west side of the island and motors upwind or up current for a few miles and then rows back with the elements in his favor. SKIMMER isn’t fast; John can row about 2 miles per hour at 12 strokes per minute, but he’s out for exercise and the pleasures of the inland waters and the marsh. And while White’s Rescue Minor could do 22 knots, SKIMMER, heavier and with less power, will do just 10 knots, but as with his rowing, John is in no rush to get anywhere.
John did very well for a first boat, especially for building one from scratch, and SKIMMER naturally draws compliments like “beautiful” and “a work of art.” But John isn’t inclined to let even the well-deserved praise go to his head: “It’s nice to hear, but I think it is mostly the varnish they see. It takes some education to appreciate the beauty of wooden boats, at least it did for me. The pleasure is in the fair curves, the scarf joints, the handles on the swim platform, that stout ipe post.” Building his first boat was neither easy nor quick. “I paid for my ignorance with a lot of hours,” John recalls. “I’ll have to live a long time to row SKIMMER for as many hours as I spent building it, but that’s okay.”
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The Boothbay Harbor One-Design is a particularly handsome boat that has proven itself in the choppy waters off Boothbay and Pemaquid, Maine. It’s an easy boat to sail, while being both maneuverable and fast, and its design is the product of some of the best boat minds of the 1930s.
Shortly after the J-boat RAINBOW successfully defended the AMERICA’s Cup in 1934, her designer, W. Starling Burgess, moved to mid-coast Maine and hired Geerd Hendel as his chief draftsman. Their primary work, funded by Alcoa and loosely overseen by Bath Iron Works, involved designing high-speed military craft made of aluminum. For recreation, both men focused on the emerging fleet of Boothbay Harbor daysailers, with which Hendel was already deeply involved. Starting with lightly built, plumb-ended centerboarders much like those that raced on lakes back in his native Germany, Hendel was in the process of converting four of them to keel boats when Burgess arrived. (As centerboarders, they had proven not to be up to salt water’s more boisterous conditions.) Hendel’s experimentation led to SANDERLING, built by Norman Hodgdon for the summer of 1936. She was the Boothbay Harbor One-Design precursor—and the first sizable boat Norman Hodgdon built.
The mid-1930s were the bleak Depression years when small boats rather than big ones were receiving attention—quality attention—from Boothbay region designers, builders, and sailors. Boats with long waterlines and short overhangs began dominating the Boothbay racing fleet in those days, and top-echelon designers took notice. A long waterline means a faster boat; boats of these proportions came not only from Hendel and Burgess, but also from Charles Hodgdon of East Boothbay’s Hodgdon Bros. Yard, and from L. Francis Herreshoff.
Hendel introduced a boat called LOON late in the 1937 season, and was then asked to work with the Boothbay Harbor Yacht Club, and particularly with its selection committee, in refining LOON’s plans to become a one-design class that would be cheap to build and fast to sail, and whose plans would be available to any builder—as these sailors intended to shop for the best price. The parameters echoed the fleet average of 21′ overall, about 19′ on the waterline, and carrying 200 sq ft of sail. After testing and massaging LOON, they agreed on what became known as the Boothbay Harbor One-Design (BHOD). It was an immediate hit, growing to 15 boats by its second season, 20 by the start of World War II, and 37 boats when wooden construction ended in 1966. (The final count came to 53, including the two subsequent batches of fiberglass boats.)
Geerd Hendel’s wooden BHODs were built upside down, then turned over and set atop their outside-ballasted fin keels—an efficient way to build any wooden boat whose design allows it. The BHODs’ flat transoms, as well, were an economy measure. The initial cost of these boats was in the neighborhood of $850.
The original planked construction of the BHODs has not held up especially well, as the boats have rather small frames and deep keels. However, the cost-cutting virtues of the original boats also make the BHOD an ideal candidate for the more robust and lower maintenance cold-molded construction. This technique involves the gluing together of multiple layers of diagonally laid veneer-like planking. It was this realization as well as a lifelong fondness for the BHODs that brought a kind of ad-hoc group together at Brooklin (Maine) Boat Yard, a long-standing leader in cold-molding. Besides designing and building new boats with cold-molded hulls, the yard had rejuvenated two aging BHODs belonging to Ted and Sandra Leonard—one of them nearly 20 years ago. Ted’s BLUE WITCH was detached from her fin and ballast, turned upside down, her hull sanded and faired to good wood, given a two-layer sheathing of 1⁄8″ diagonally laid veneers set in epoxy, faired and painted, then set upright again atop her original fin keel. Despite many seasons of sailing, her hull remains flawless and tight. Not surprisingly, Sandra’s boat, INDIA, received the same treatment a few years later.
Based partly on this track record and partly on the yard’s expertise, Ted Leonard (who raced BHODs as a lad, as did his father) chose to sponsor a new BHOD of cold-molded construction. With input from Steve White (the yard’s owner), Bob Stephens (BBY ’s chief designer), and a little from Ted and me, the details were worked out and depicted on a new construction drawing by Bob. Instead of 1⁄2″ cedar planking, caulked, the new skin will consist of three layers glued together—the inner being 1⁄4″ thick running fore-and-aft over steam-bent frames, followed by two diagonally laid 1⁄8″ veneers running at right angles to each other.
As of this writing, finished drawings have been worked up and approved by the BHOD Association. The building jig has been completed, and over the winter the new hull will take shape. Ted’s goal is to share the information so that anyone can build one of these fine little daysailers using a method that has been proven. Finished boats will have strong and dimensionally stable skins, so you can store these BHODs in your garage or under a tarp with assurance that they’ll keep well and not leak when launched. The hulls will hold paint well because there’s no swelling and shrinking with changes in humidity—no seams to open, shed their paint, and ultimately leak. Fiberglass boats have some of these same advantages, but because that material isn’t self-fairing between supports the way wood is, fully faired and waxed female molds are necessary.
Since this boat weighs under 2,000 lbs, you’ll be able to tow it from place to place over the road behind the family sedan, expanding your sailing venue without damaging your boat. If the boat is equipped with a mast that swings in a tabernacle, stepping and unstepping should be a do-it-yourself operation.
It’s a thrill to sail a BHOD, either singlehanded or with a friend or two. You tuck a cushion under your fanny and sprawl on the floorboards, where you’re out of the wind and much of the flying spray, yet you can see all around since your line of sight is under the boom and not obstructed by it or the mainsail. In tacking, the mainsail takes care of itself. Although the jib has to be let go and resheeted when changing tacks, it’s a small sail that blows across to the new lee side and sheets in easily once there—hardly needing the winch except in strong winds. With half her total weight at the bottom of her keel, the BHOD can be driven harder than a centerboarder of equal size. A reef is seldom needed and capsizing almost unheard of. Nevertheless, flotation chambers in the bow and stern will keep the boat from sinking should a catastrophic knockdown and swamping occur.
The resurgent interest in BHODs comes largely from a fleet roster developed by Association secretary Alden Reed—a listing that accounts for all 53 BHODs. Alden’s roots run as deep as his research in tracking down the boats. His grandfather Alden sponsored some of the early boats to get the class on its feet, and his father, Edgar, while a youngster, often crewed for Starling Burgess during the late 1930s.
If you do not plan to race, and are not constrained by the one-design parameters, the design invites such modifications as a reduced keel and separated rudder, curved transom, small cabin or boom tent, and tabernacle mast. The boats are small enough to store in the garage, yet big enough to give one the thrill of sailing fast—a perfect balance between manageability and performance.
There’s a newly chartered Boothbay Harbor One-Design Association, open to anyone interested in the boats. It organizes the racing, and publishes a comprehensive quarterly newsletter that covers restorations as well as recent race results. Ordering details for the new Boothbay Harbor One-Design Plans were being developed at the time of publication.
This Boat Profile was published in Small Boats 2007 and appears here as archival material. If you have more info about this boat, plan or design please let us know in the comment section.
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The Christmas Wherry possesses two characteristics that should be critically important to anyone looking for a small boat to use in open waters. It displays classic beauty and, as the boat’s designer, Walt Simmons of Lincolnville, Maine, says, “It will take you out, and bring you back home.”
The wherry can trace its origins perhaps as far back as the 15th century. Superb pulling boats, wherries could be found fishing or carrying passengers on rivers and harbors throughout much of England. These working boats were often equipped with sailing rigs. The fast, all-purpose boats came to the New World during the earliest part of the Colonial era.
The Christmas Wherry can trace its design almost as far back in history. The boat is based on the salmon wherries developed on the shores of Penobscot Bay in the 19th century, a time when the fishery for wild Atlantic salmon flourished in Maine bays and rivers. Some 35 miles long and more than 20 miles wide, the bay lies at the mouth of the Penobscot River and is studded with granite ledges and islands. For decades, into the early years of the 20th century, the Penobscot was among the most productive salmon rivers in North America. As might be expected of boats relied on by fishermen working on the rugged Maine coast, the ability to go to sea in all weather, and to come back laden with salmon in all but the worst of it, was critical.
Today, the salmon and the fishery are gone, but the value of a small boat that can carry a good load in tough conditions hasn’t changed. The difference is that the boats will be used for recreation, and that poses some design issues.
In developing the Christmas Wherry, Simmons was working within some very specific parameters. His customers wanted a shoal-draft boat in the 15′ length range that they could sail as well as row, with a rig that could be stored entirely inside the boat. The boat had to be heavy enough not to be “corky” in the water but light enough for one person to load on and off a trailer without assistance.
“That’s a taller order than you might think,” Simmons says, but the Christmas Wherry fills the bill.
At 15′ in length between perpendiculars, with a molded beam of 5′ and depth amidships of 1’6″, the Christmas Wherry can carry two or three people with ease, “and four in a pinch,” Simmons says. She’s long enough to sail well under her 102-sq-ft lug rig and beamy enough to stand up to a good breeze under a press of sail. A plank keel makes the boat maneuverable enough for the rower to skid sideways if necessary, but her planked-down hull aft means she’ll track well, too.
The Christmas Wherry shares the excellent seakeeping abilities of other boats of the type. The owner of a Simmons–designed 19′ Newfoundland Trap Skiff, a boat very much like the Christmas Wherry, sailed his boat from Massachusetts up the coast to Penobscot Bay, a trip that at times exposed the boat to the full sweep of the Atlantic. With her broad beam (her length-to-beam ratio is almost 3:1) and her flat ’midship sections, the Christmas Wherry isn’t at all tender. Simmons says the boat can support his 230 lbs standing on the rail. Under sail, with her nicely canted stem and full sections forward, the bow stays up even when the wind is blowing hard, and there’s enough flare in the planking to keep things dry.
The Christmas Wherry is planked up from 9-mm okoume plywood using glued-lap construction, with eight planks to a side. It can also be built with cedar planking and traditional boatbuilding techniques, but Simmons likes the way fastenings hold in okoume, which he also used for the wide plank keel and the centerboard. Simmons uses Honduras mahogany for the thwarts and oak for the wherry’s inwales and rubrails. He doesn’t use the traditional oak keel because it’s too difficult nowadays to find wide oak planks that won’t cup.
The boat has six pair of sawn frames rather than the seven pair traditionally found in wherries. Each frame is laminated from two layers of cedar. The joints are “broken,” as they would have been historically in a large vessel. Just as in double-sawn frame construction, which were bolted up of individual members called futtocks, Simmons staggers the frame’s butt joints in adjacent layers as widely as possible for strength. Using multiple pieces, Simmons says, all but eliminates any cross-grain. The Christmas Wherry’s frames are composed of two 5⁄8″-thick layers of cedar epoxied together to make the 11⁄4″ sided frame. That might mean three pieces on the forward side and two on the after side, for example, so that the butts are widely separated and each is fully supported.
Historically, wherries built in the area where Simmons has his shop used natural-crook cedar frames from trees cut along the banks of Duck Trap Stream. With today’s conservation ethic, that practice is no longer possible, but Simmons says that he utilizes modern technology to duplicate what cedar trees used to do all by themselves.
Simmons says that in a wherry built using glued-lap construction, the hull is so strong that frames wouldn’t even be necessary except for the wracking strain imposed by the sailing rig.
Although fitting sawn frames in a lapstrake boat is what Simmons calls “an interesting proposition,” he says they’re preferable to steamed frames, which have a tendency to exert a lot of pressure on the center of wide planks. Fitting the frames square to the planking makes the job easier, although there’s still plenty of beveling to be done.
The Christmas Wherry is not the boat for a novice builder. It has the shapely, extremely tucked-up stern sections characteristic of the salmon wherry and a fair amount of tumblehome. Springing the garboard into place requires a lot of pressure, Simmons says, and constructing a centerboard trunk adds to the complexity of the project.
The centerboard itself is built from 18-mm okoume, and carries 15 lbs of lead at the bottom to make sure the board stays down. For those occasions when the board doesn’t stay either down or up but gets stuck somewhere in between, the centerboard trunk has a removable cap. Plans for the Christmas Wherry show a kick-up rudder, but the latest version built by Simmons has a traditional fixed rudder.
Building and repairing wherries for more than 30 years, Simmons says, “I learned the hard way.” Getting the lofting right goes a long way toward simplifying the construction. To that end, Simmons offers complete loftings as well as plans and detailed building instructions either in printed form or on a CD. He’ll also build a finished boat to order.
Any boat designed for rowing is only as good as the oars used to propel it. Simmons prefers to stand to row the Christmas Wherry and uses a pair of 8’6″ curved-blade oars made to his own pattern. The boat is fitted with bronze horned rowlocks that Simmons designed especially for rowing in the standing position. A 10′ oar is recommended for sculling. The shorter oars can be gotten out of a 28 plank without any laminating. For the Christmas Wherry builder, Simmons offers plans and a full-sized lofting of the oars.
Moving the Christmas Wherry to and from the water should be an easy task, even for the singlehander. Even with her full rig and gear aboard, the boat shouldn’t weigh more than 300 lbs. She can be easily launched and recovered with a small trailer that has been modified to fit a round-bottomed wooden boat by adding a cradle to support the boat’s ’midship section and a substantial roller aft.
The Christmas Wherry may not be everyone’s cup of tea. She’s not a quick and easy building project, and even an order to Simmons’s one-man shop won’t produce a finished boat by return mail.
Still, seeing a Christmas Wherry on the beach or, even better, in the water makes it clear that she fulfills the aesthetic imperative of small-boat design. And she will take you out, and bring you home, in style and safety.
Full sets of plans, completed boats, and Simmons’s boatbuilding instruction books are available through Duck Trap Woodworking.
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President John F. Kennedy made a speech in Houston, Texas, at Rice University on September 12, 1962. I was only nine years old at the time, but one part of that speech eventually reached me and stayed with me, as it has for most Americans:
“We choose to go to the Moon…We choose to go to the Moon in this decade and do the other things, not because they are easy, but because they are hard, because that goal will serve to organize and measure the best of our energies and skills, because that challenge is one that we are willing to accept, one we are unwilling to postpone, and one which we intend to win, and the others, too.”
The president’s declaration led to Neil Armstrong, less than seven years later, making the first footprint on the lunar surface. And getting to that point was hard, even for a nation with almost unlimited resources. As individuals, we set goals for ourselves that are more modest than going to the moon, but those that are the hardest for us to achieve, no less “measure the best of our energies and skills.”
In this issue, Isabelle Heker tells us of the daunting task she took on of building a Greenland kayak in spite of her lack of skills, tools, and materials and in spite of the doubts cast by those closest to her. Dave Gibson, also in this issue, built a plywood kayak and confessed that after looking at the instructions, “I had not even started,” he said, “and I was buffaloed.”
I was also intimidated by the steep front face of the learning curve I had chosen to scale when I first started building boats. I read lots of books, gathered up the tools I thought I’d need, and made a start. I got as far as stetting the frames on the bottom of the dory skiff that was my first real boatbuilding project. A batten sprung around them showed the frames weren’t all making contact along that batten’s fair curve. I spent a week, maybe two, checking offsets, studying the lofting, measuring the frame, searching for the numbers that were causing the problem. I couldn’t find them, gave up on that approach, and decided that the only solution was to take my direction from the batten and build the boat.
Building that 14′ skiff was the most difficult thing I had done to that point. In spite of the challenges, the mistakes, and the disappointments, I often stepped back from the work, nestled in the pile of redolent oak and cedar shavings I’d swept into the corner of my makeshift shop, and gazed at the boat in wonder. The feeling of “I did that” wouldn’t have been as rewarding if the project had been quick, easy, and without suffering.
I thought the repairs I had to make to the kayak I had allowed to fly off my roof racks would have been easy. I’d made repairs before, after it had arrived seriously damaged after being air-freighted from Denmark. The new fix the aft deck required was easy, a repeat of the repair to the foredeck I’d done years earlier. But addressing the damage to the skeg and the crack in the aft half of the hull had me a bit “buffaloed” and took a lot of thinking before I could continue the work.
I had to create some new tools and new ways of using existing tools as well as invent methods for working on damage I could access from just one side. I complained to Rachel that I was having to find solutions to problems I’d never encounter again. That missed the point. The value of the exercise was not in a solution I’d never need again, but in being determined to solve a problem I’d never encountered before.
If I had taken up woodworking because I had wanted it to be easy, I would have stuck to projects that involved only straight lines and right angles. I wouldn’t have started building boats with the struggles posed by their curves and compound bevels. With each boat I built after the dory skiff, I took on more complex builds that would pose new problems to solve, knowing full well that they would at times frustrate and even annoy me, but knowing just as well that the level of satisfaction would rise with each elevation of the difficulty. To put it Kennedy’s way, the challenges would serve to organize and measure the best of my energies and skills.
In that 1962 speech, President Kennedy also said this: “We set sail on this new sea because there is new knowledge to be gained.” It’s no surprise that his metaphor was about boats.
Update:
I greatly appreciated all of the comments sent by readers who could empathize with my story about forgetting to tying my Struer kayak to the roof racks and the damage it suffered falling onto the pavement. I finished the repairs recently and, after a two-month hiatus, got it back on the water. Here is a review of the damage:
And here is what it took to make the kayak seaworthy again:
And here are the results, with a fresh coat of varnish:
With one of us at the stern, the other at the bow, we lift our Savo 650D off the boat trailer, step to the water, and swing the bow until the boat is perpendicular to the shore. When we set it down, it balances on the smooth surface of the water like a leaf that has just landed with a whisper, light as a feather. We’ve set it in the water hundreds of times, yet the sense of the boat’s spirit always comes alive at that moment when its hull alights on the water.
We often imbue certain inanimate objects with human qualities. We have bonded strongly with our boat, and think of it as an individual with its own personality. It sounds a bit crazy, but perhaps it has something to do with the strong emotions, both good and bad, that we have experienced while rowing it. Slipping across a perfect glassy mirror of salt water at sunset, awash in pinks and blues, gold and silver. Bashing across the chaos of Petit Manan bar off the Maine coast, in an opposing wind and tide, our every fiber focused on not tipping over, and looking up to see a jellyfish in the crest of a wave above our heads. Riding the long lazy swells of a perfect summer morning on the ocean, and wishing we could keep rowing to the horizon and beyond. Maybe it is a strong sense of gratitude that creates a deep connection with, and subsequently a persona for, an object. NORPPA, as our Savo 650D is named, is eager and spirited, somewhat sassy, and a bit wayward. She detests rocks, especially large ones that are barely awash and sneak up on her from nowhere. She loves attention and pampering.
The Savo 650D’s predecessors were traditional rowboats built and used in Savonia, a Finnish province crisscrossed with a network of navigable freshwater lakes and rivers. The rowboats were a fixture of everyday life, used for exploring, fishing, transport, and visiting. Children were borne by rowboat to their baptismal ceremonies, and family members rowed their deceased to their final destinations. After a lifetime of dependable service, Savonian rowing boats were traditionally burned at the midsummer bonfires.
The Savo 650D from Puuvenepiste in Finland features a hull of glued-lap planks of 6mm marine-grade plywood over three laminated frames. The plans offer a three-strake version designed for a combined crew weight of 350 lbs or more and a four-strake version for crews weighing less. Together, the two of us weigh close to 350 lbs, and we have the tendency to load a lot of gear for camping trips, so the three-strake version might have been the better choice, but the four-strake version came to us serendipitously, and it has worked well for us.
Designed to be light, the Savo 650D’s keelson, gunwales, and frames are made of pine or spruce. The fully equipped boat weighs in at just over 100 lbs. The length is 21′ 4″, with a nearly plumb bow and stern so its waterline is virtually the same as its overall length. The hull flares wide at the gunwales and tapers to a V-bottom that is shallowly curved amidships, and narrows sharply at bow and stern. Its interior is simple and clean, with only three frames and the sliding seat system, so there’s lots of room for stowing gear.
With the boat bare for racing, it draws only 4″. Loaded for a multi-week camping trip, it sits a bit lower, but handles even better. Though we didn’t build the boat ourselves, a kit version is available and comes with detailed instructions and diagrams.
The Savo 650D is designed for two rowers, though it is simple to outfit the boat with a third set of oarlocks to row as a single as well (though there’s also a version of the boat—the Savo 575—that is designed as a single). The 650D is equipped with two Poseidon sliding seats, which have concave wheels that rest on round stainless-steel rails. This setup is a huge improvement over most sliding-seat systems, which have convex wheels that fit down into concave rails that collect all manner of grit and debris making for lots of friction and extra maintenance. Any debris that falls on the Poseidon rails just drops off. The foot stretchers are clamped onto the sliding seat rails, and can be easily loosened to slide the foot stretcher to any position to accommodate taller or shorter rowers, or to set the boat up to row as a single.
There are no storage or flotation compartments—the Savo’s original purpose is to be a racing boat. If you’re considering taking the Savo out for an extended open water expedition that may land you in rough water, you’ll want to consider lashing some sort of flotation into the boat.
We transport our Savo on a lightweight aluminum trailer, but in Finland, where these boats are common, they are often cartopped. At 100 lbs, the boat can be lifted on and off the trailer or car top by two fairly sturdy people with relative ease.
Compared to a racing shell, this boat is quite stable. Compared to many traditional wooden rowing boats, it feels a bit tender. It is somewhere between the two in terms of stability, but closer to a traditional rowboat. With its V-bottom and wide flare at the gunwales, it lacks a little in primary stability, but makes up for it in secondary stability. In rough water you’ll be in for a bit of a wild ride, but it won’t go over. We once did a test to see what it would take to flip the boat and found that it took both of us getting off our seats to lean all of our weight out over the gunwale. That being said, when loading the boat with gear it’s important to take care to distribute the weight evenly. It is sensitive to small differences in port/starboard loading. Also, with its relatively light weight and large freeboard, wind on the beam can heel the boat. It is minor yet noticeable; sometimes it helps to have some ballast available to counterbalance a wind-induced heel.
Finnish racing rules don’t permit oarlocks that allow the oar blades to feather, so the Savo is equipped with Sarana oarlocks, hinged pins that pass through bushings in the center of the oar looms. These non-feathering oars were a revelation to us. The pin system is ingeniously simple, and makes great sense for long-distance rowing. Though not being able to feather may at first seem a limitation, it is in fact a great bonus. The blade is always at the perfect position at the catch and no energy is wasted on feathering. And the traditional Finnish blades are slender enough that only the strongest headwinds have caused us to momentarily wish we could feather. The other 95 percent of the time, we dearly appreciate not having to think about blade angle at every catch, and our forearms are happy to forgo feathering, especially on the long-distance rows that we enjoy so much.
The Savo’s oar shafts are laminated spruce or pine, with hatchet blades made of marine plywood. Overall length of the oars is 8′ 4″, with blades approximately 17″ long by 5″ wide. Despite the relatively small size of the blades, we have found that they keep the boat clipping along nicely. One thing that may take some getting used to for American rowers is the amount of cross-over of the oar handles, which is much greater than that in most rowing or sculling boats in the U.S. That cross-over provides the right amount of leverage for oars that are mounted on the gunwales with no outriggers, but it does feel a bit different at first. While learning to row in rough water, the cross-over can be a contributing factor to bruises and scrapes on your hands and arms. But this is not an issue on flat water, and is overcome with practice in rougher sea states.
We have rowed our two Savos—one standard, the other equipped with decks, bulkheads, and a kayak rudder for the Race to Alaska—hundreds of times, in all conditions, and for very long stretches across open water off the coasts of Maine and British Columbia, and have found joy in all of it. These boats have carried us safely across rip tides and whirlpools, over ocean swells, and through the worst chop that our home waters of Penobscot Bay can whip up. On calm water, the Savo is a dream to row; it skims along with long glides between strokes and you almost feel like you are flying. It seems to barely notice a slight chop; it’s not uncommon for us to be out in 1′ to 2′ chop and stay dry. In rougher water, it can be quite fun, once you acquire the skills to stay on your seat and keep time with your partner. Any minor downsides to rowing the Savo that we have noticed are probably only due to our continued insistence on taking the boat out into water and conditions that are not usually encountered on the lakes of Finland.
Due to its relatively light weight, moderately high freeboard, and shallow draft you’ll need to row with quite a crab angle to make up for the effect of a strong wind on your course over ground.
The Savo’s long waterline and V-bottom give it good speed and tracking along a straight-line course. The trade-off is a reluctance to turn sharply. We routinely drag an oar (sometimes two) to act as a rudder to assist a course correction or a larger turn. The original Savo does not have a rudder, or any kind of skeg or fin. It tracks fairly well upwind, but can be a bit squirrely in a downwind swell, suddenly taking 30- to 60-degree turns out of the blue when its stern gets caught by a wave (not an unusual trait for small boats). We have become adept at quickly dragging an oar on the fly to correct these sudden departures from our intended course. To be sure, steering issues are much less of an issue on flat, inland water, and in any case can be overcome with experience and practice.
The Puuvenepiste website states that the 650D can attain speeds of up to 9 knots (for a short period with exceptional rowers), and cruising speeds of 4.5 to 5.5 knots. We have briefly achieved speeds in excess of 8 knots, and have consistently achieved cruising speeds right in line with the designer’s range. In 2018, the Savo 650D was our boat of choice to row the entire Maine coast, 260 miles from Kittery to Lubec. We chose the Savo because of its capacity to hold all our camping gear with ease while maintaining a great cruising speed. Even with our increased payload on the trip we averaged 29 miles a day, and when we got to the end we wished we could keep going.
Over the past three years of rowing the Savo, we have gradually built our skills and learned to trust the boat in rougher and rougher water. We do all of our rowing on salt water, mostly on the coast of Maine. At first, it was nerve-wracking to be out in 2′ chop. Now, we have rowed across long stretches of open water in steep, choppy, 5′ waves, and have been in swells of up to 8′. Although the Savo was designed for flat-water racing on the lakes of Finland, we have found it to be quite seaworthy. In very rough, steep seas from 4′ to 7′, we have had to regularly stop and bail, but in sea states that are more typical for rowing, the boat stays dry inside. The greater barrier to rowing in rough water has not been the boat, but our own level of confidence and skill with the oars. It takes time and patience to learn how to row well, and stay in sync, when the boat is pitching all over the place.
The Savo 650D lies somewhere on the spectrum between the ultra-slim, lightweight racing shell and the heavier, more stable traditional rowboat; all in all, we find it to be the best of both worlds. It is fast, yet dry in most sea states. It is light, yet sports beautiful, traditional lines. If you’re a sliding-seat rower who wants to enjoy that amazing, weightless feeling of skimming along across a mirror-like surface, you can do that, and probably win some open-water races while you’re at it. If you’re a busy person trying to spend time in the outdoors while also getting in a good workout, you won’t have to bend and warp your life schedule around finding perfect flat-water conditions; you can go out in a bit of wind and chop. If you live for adventure and you want a boat that you can load with camping gear and shove off for multiple weeks away from modern life, you can do that, too. The Savo is also a great training boat for beginners. With its wider beam and freedom from feathering, newcomers to sliding-seat rowing find the Savo to be a much more forgiving, less frustrating boat than a typical shell. Yet, experienced rowers will find much to love as well; if you’re like us, you’ll find that the boat’s extreme seaworthiness will have you continually testing yourself in more and more rugged conditions.
Leigh Dorsey and Dameon Colbry are rowing addicts lucky enough to be living on the coast of Maine. They have found no more enjoyable way to experience the sea than in a small boat, and no more rewarding journey than one completed under their own power. They feel a strong connection to the generations of humans who explored their world by oar and paddle.
Savo 650D Particulars
[table]
Weight, equipped/101 lbs
Length /21.3′
Beam /4.2′
Depth/24.6″
Displacement/441 lbs
Waterline length/21′
Waterline beam/29.4″
Draft/4.5″
Freeboard/12.6″
[/table]
Finished boats and kits for the Savo 650D are available from Puuvenepiste in Finland. Old Wharf Dory is the authorized builder in the U.S. Kits in the the U.S. are available from Hewes & Company in Blue Hill, Maine.
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!
The catboat is a beamy, monohulled sailboat descended from a line of working watercraft. No one is sure of the origin of the name “catboat.” Some said the boat was as fleet as a cat. Or, the name might have been inspired by dock cats that greeted returning fishermen. Catboats fished, hauled freight, and ferried passengers along the U.S. Eastern Seaboard as early as 1850. Their spiritual home is Cape Cod, Massachusetts, where generations of the Crosby family built catboats, determining their shapes with hand-carved models.
The beam of a catboat is typically half its length. Such generous beam afforded room for a fisherman to work. A single mast, stepped far forward, has a forestay but generally no shrouds. The rig is a single sail, often a gaffer. Fishermen made headroom by furling the rig then hiking it high overhead with one of the halyards. Because catboats worked in shallow waters, most have shoal draft and a centerboard. Catboats have a characteristic barn-door rudder, hung proud of the stern and steered with a tiller.
Working watermen eventually adopted steam and gasoline. But a new kind of sailor, the pleasure boater, adopted the catboat, which retains a loyal following to this day.
Naval architect Charles W. Wittholz of Silver Spring, Maryland, designed boats ranging from 11’ dinghies to 85′ replica ships. In his career, Wittholz designed several catboats, but it was the 17-footer that he himself sailed on the Potomac River. Built in 1967, he named his boat GOOD OMEN and sailed her for more than 20 years.
The plans for the 17′ 1″ plywood catboat include 11 sheets with good construction detail: materials, dimensions, fastening schedules, notes, and comments. Several alternatives are included: self-bailer instead of deep cockpit, lead-ballasted full keel instead of a centerboard, open cockpit instead of a cabin, gaff or marconi sailing rig, optional anchor-handling bowsprit, and an optional inboard engine. The plans date to the early 1960s, so some of the suppliers mentioned have long been out of business.
The Wittholz 17 requires lofting from the plan’s offsets. Drawing the body plan (the end-on view) requires a 6′ x 10′ drawing surface and is critical to loft accurately as it provides the full-sized patterns for the frames. The 6′ x 6′ side-view lofting of the stem provides patterns for the stem/forefoot assembly. The lofting for this catboat is not complicated; Greg Rössel’s book, Building Small Boats, covers lofting nicely.
Hull construction is straightforward: assemble the oak stem, the 1/2″ plywood transom, and the nine frames of mahogany or oak with 1/2″ plywood gussets. Set those elements on a level building jig, upside down, with the frames 22″ apart. Fit the mahogany or fir sheer stringers and chines, and the mahogany keelson to the frames.
The hull sides and bottom are 3/8″ plywood. The plans suggest a layer of fiberglass cloth on the ply for extra durability. I know from personal experience that if you get the catboat sideways to the wind and ram the dock, you can crack some plywood along the sides. The most vulnerable areas are between the frames forward of amidships, aft of the forward bulkhead. I suggest adding oak blocking between frames about 12″ above the waterline and heavy-duty fiberglass-epoxy on the inside of the plywood in these areas.
In my experience, fir and Aquatek plywoods check and crack if painted only, so they must be covered on both sides with fiberglass cloth set in epoxy. If you do cover plywood in fiberglass, do it after cutting pieces to shape, before installation, while they are still flat. This is so much easier than fiberglassing an assembled boat. High-quality okoume plywood is nice stuff: no voids, many plies. Okoume, when used for parts of the boat other than the hull, benefits from a barrier coat of unthickened epoxy on both sides, but it does not require fiberglass cloth.
This boat will always have a little water in the deepest part of the bilge. Seal this area with several coats of epoxy resin.
Get the sides from 5′ x 20′ panels (two sheets 5′ x 10′ scarfed). Attach the sides first. Get the bottoms from 4′ x 20′ panels (4′ x 8′ sheets scarfed). The bottom panels overlap the side panels most of the way then transition to a butt seam forward. Fit the keel to the keelson before turning the hull over.
The sail plans include both marconi and gaff rigs. The gaff-rig mast I built is solid spruce: 5-1/4″ in diameter, 25′ long. The gaffer requires a single forestay but no shrouds. The hardware called out in the plans is all from Merriman Yacht Specialties, a company no longer in business. Most parts have readily available equivalents, but if gooseneck hardware is hard to find, try wooden jaws. See William Garden’s article, “The Right Jaws for your Gaff and Boom,” in WoodenBoat No.59.
The gaff rig’s solid mast is too heavy and awkward to step handling it solely from the foredeck. Lacking a crane, it requires a person on a low bridge or atop a neighboring houseboat to steady the mast while a crew of two lifts/lowers on deck. Spare halyards from two neighboring sloops would also work to step this mast.
Those wanting a trailer-sailer will look to the marconi rig then make modifications for folding. The builder will have to design the modifications, because the plans say nothing about folding. The marconi mast is a 5-1/4″ x 4-1/4″ hollow rectangle, 32′ 3″ long. This mast requires a forestay and two shrouds that belay aft of the mast partner.
The gaff rig peaks up higher than is usual for a center of effort similar to the marconi. Build either sail with two sets of reefpoints as shown on the plans. The second reefpoint has a calming effect in 40-knot winds.
The optional bowsprit is not for a jib, as a jib of any kind would unbalance the boat. The bowsprit is for anchor handling, equipped with a chock to guide the chain and rode.
The Wittholz catboat has a centerboard, as catboats commonly do. Draft with centerboard up is 21″, down 4′ 3″. The centerboard case is 6′ long, most of it in the cabin, with 19″ extending aft into the cockpit. The centerboard itself is 3/8″ galvanized steel. There are 500 lbs of movable ballast in the form of lead pigs under the cabin and cockpit floorboards.
The plans include an option for a full ballast keel, as seen in the catboat pictured here. The draft of the full-keel version is 28″. The builder must make a mold to pour 600 lbs of lead shaped to fair with the deadwood in the keel. The mold requires lofting, too; refer to the Bud McIntosh book, How to Build a Wooden Boat, for a simple explanation.
Either model weighs about 2,200 lbs, including the ballast. The trailer for it could be a bunkboard arrangement, but a trailer with boat stands is better. When trailering, the boat must rest on its keel, not its garboards.
The cockpit is seriously spacious. Sloop sailors often walk by and exclaim, “Look at all that room!” The cockpit can easily accommodate six people. The seats have a comfortable slope, and the coamings are tilted as backrests should be. The footwell is deep but not self-bailing. Water will sump to the deepest part of the bilge where a reliable pump awaits. For a self-bailing cockpit, see the plans; there is a sheet for that. The high sheer up forward keeps the cockpit dry in most conditions.
At anchor, it is a fine thing to hike up the sailing rig for standing headroom in the cockpit. On the gaffer, do this by furling the sail, lashing boom to gaff, and hauling on the peak halyard. For the marconi rig, modify the wire topping lift. Its upper end is fixed to the top of the mast, so modify the bottom end with 1/4″ rope, blocks, and a cleat on the boom to adjust it.
In the cabin, there is sitting headroom on berths port and starboard. The two lockers amidships are sure to be customized by the builder. At anchor, a Coleman stove works well in the cockpit aft, so the two-burner alcohol stove in the cabin shown in the plans may not be required. The drawings show a head up forward, but it flushes straight into the sea. Better find a place for a porta-potty, either forward or perhaps amidships port or starboard. When it comes to building the cabin, How to Build a Wooden Boat is again a good companion to the plans.
The plans show where to fit a small inboard engine, but a 5-hp, four-stroke, long-shaft outboard motor serves well as an auxiliary. The plans also show an option for stowing an outboard under a hatch set in the cockpit floor. On smooth water, the outboard will push the boat at 6 knots. Mount the outboard to a bracket on the transom, but keep it clear of the big rudder. Add framing in the transom for attaching the bracket to the boat. The bracket should be adjustable up and down to keep the propeller in the right amount of water, no matter where the passengers are. Most 5-hp outboards come with a propeller suitable for light craft or inflatable dinghies. For a boat of this size and weight, select a propeller with less pitch so that engine rpms are high enough to avoid lugging the engine.
In good conditions, expect this boat to sail to windward at 45 degrees off the wind. A sloop, with its two sails and narrower beam, might sail closer, but the catboat sailor specializes in his one mainsail and strives to get the most from it. The peak and throat halyards of the gaff rig provide control over sail shape. A three-part boom outhaul for either rig is useful to control the belly of the sail. The position of the crew greatly affects overall trim. Move crew aft or to windward to reduce weather helm, something catboats have in abundance. On this boat in particular, moving crew leeward can help push the hard chine underwater, so the side acts like a leeboard.
It is best not to oversheet a catboat. When hauled hard, the boom should be over the stern quarter of the boat. Hauled any harder, the boat slows down and crabs to leeward. Best to let out the sheet, find the wind, then adjust by looking for the sweet spot. On gusty days, do not cleat off the sheet; instead, wrap just enough turns around so it will slip when hit by a strong gust. On a reach, 15 knots of wind will move this boat at 6 knots. In stronger winds, reef the sail to match, preferably sooner than later.
At the helm, keep the tiller in one hand and the sheet in the other. One can sense immediately how the combination affects boat speed and trim.
This boat is built for comfort, not speed. What appeals most to me is how the Wittholz catboat provides so much space for its 17′ length. It’s a sailboat with berths for overnighting, and yet is buildable in a 20′-deep two-car garage. Over the years, I have come to appreciate its comfort, safety, good looks, and ease of sailing singlehanded. If I could add one thing to the plans? Fishing rod holders just aft of those stern cleats.
Monte Copeland grew up in a lumberyard along the Ohio River, but never connected wood with water until after moving to Austin, Texas. Now retired from computer programming, Monte and his wife Sheila sail on Lake Travis. In his shop is an old Shellback dinghy getting ready for new paint.
"Don’t you think such a project is a little too big for you?” That’s what my father said when I told him I was thinking about building a kayak. He used to do little craft projects with me when I was younger, and I remember when we made a small wooden figurine for Grandma to put in her garden. He did the sawing out and let little me do the painting. While he had in mind teaching me to use some tools and different materials, in the end, he always did the building and all the work with the tools, while I watched and cleaned up afterward. When I was old enough, I stopped taking part in these projects and turned to some simpler craft projects I could do on my own, such as sewing, braiding, and working with leather.
“A little too big” came back to me as I stood in a lumberyard collecting the first of the materials for building a Greenland skin-on-frame kayak, but the echoes of my father’s words faded as I breathed in the wonderful fragrance of the wood surrounding me. Thomas Bruns came out of his storehouse carrying a very long packet of lumber. He is the father of an old friend of mine, and I’d recently found out, just by chance, that he’s a lumber wholesaler. I could not really believe my luck, because for weeks I had searched the Internet for a source of wood of 16′ or more in length, knot-free and straight grained. Thomas had been very friendly when I emailed him, offering me wood for my project and not wanting any money for it—the amount of wood I needed for my kayak was not a quantity they think twice about giving away. For two big boards of pine and four beautiful, knot-free 20′ boards of hemlock I paid one homemade chocolate cake.
As I strapped the boards to the roof rack of my parents’ car, I still could not believe I was doing this. These boards were longer than any kayak I had ever handled, and “too big for you” was suddenly something I could see and struggle with as I loaded them.
The idea for this building project came up when I was practicing Greenland rolling in pool sessions during the winter months with my fiberglass Greenland-style sea kayak, christened NAAJA. In the Greenland tradition there are rolling techniques for every eventuality. In the Greenland National Kayaking Championship there are 33 different rolling techniques, from the Standard Greenland Roll with a paddle, to the Straitjacket Roll without a paddle, arms held tightly across the chest. I love my kayak, but it is just not perfect for rolling. I needed another kayak, one meant for rolling.
There are only a few manufactured models available that would fit for me, as I am not very big—5′ 7″, around 130 lbs—and a boat for rolling should be very low in volume. Suitable boats turn up only rarely in Germany as used boats, and shipping a new one is too expensive for some playing around in pool sessions. My boyfriend Martin said “just build one for yourself. It can’t be that difficult.” He was not really being serious, but still, the idea stuck with me. Then I started reading everything I could get from the Internet, and finally ordered the book Building the Greenland Kayak by Christopher Cunningham. I read through the whole book in a few days.
With every page I read, I tried to imagine if I could do each step, if I had or could borrow the tools I needed, and so on. As I got more and more interested in the idea of building, my thoughts drifted to it no matter where I was or what I was doing; I even had a dream about it. As I read and planned, it slowly became clear to me that the process of building the kayak was not that difficult. I became more and more determined to take the project on.
My parents did not take me very seriously at first, and I tried not to bother them as they had already been complaining “you only ever talk about kayaks,” even before this project got stuck in my head. I was used to this. For the last 15 years before I took up paddling they complained I “only ever talked about horses.”
I discussed everything with my boyfriend, but even he grew tired of the topic at some point, even though he was the one who got me to take up kayaking three years before. He is still making fun of me that I took it up a bit too well, laughing at my ever-growing collection of kayaks and gear and list of places I want to paddle. He also taught me paddling and rolling in the first place, and my first kayak was given to me by his grandpa.
I plotted where I could get my materials and find some space for building. When to do it was clear: I was to finish my master’s thesis in microbiology/biochemistry by the end of March 2019, and would start a PhD program on the first of June. I looked forward to building with my own hands something I could actually use. It would be just the break needed from lab work and sitting in front of computers trying to make sense of weird measurements of microscopic bacteria.
I needed a place to build the kayak. I was living with my parents in a flat on the third floor, and our cellar was so small that there wasn’t even room for my bike. I would have moved out earlier, but I wanted to wait until my boyfriend and I both had jobs and knew we would not have to move farther away within the next few years.
As I earned a lot of skeptical looks from family and friends alike for my project, I got more and more determined to do it. I did not expect it to come out perfectly, but I wanted to prove, not just to them but to myself, that I could do it and do it on my own. The biggest projects I’d done were a leather book bag and two leather guitar straps—nothing like building a whole boat from scratch. The more I thought about it, the more I realized that proving what I was capable of was driving me more than any need for another kayak, but I would never admit that to anyone.
Even before I set up a workplace to build the kayak, I needed to get my stack of boards sawn to the dimensions required. This necessitated a tablesaw, a machine I had never used before, and was the only step I was willing to accept help with. My friend Ralf-Peter Stumme has a prehistoric tablesaw with no safety features at all; I am always amazed that after using that thing for years he still has five fingers on both hands. He would not let me use it anyway, but he would do the rip sawing for me.
I rounded the corner into the yard of the rowing club in my hometown of Mülheim, Germany, where Ralf-Peter has his workshop, and heard a radio blasting some audiobook from the station he is always listening to, and I saw him in his customary red-and-white striped shirt working on a century-old four-oared racing skiff. The red and white stripes are the “official outfit” of the Classic Boat Club he founded in 2004, and about the only color of clothing Ralf-Peter owns.
As we unloaded the boards from the car roof rack, we chatted a little about my project. I was really happy to finally talk to someone who actually knows something about boatbuilding and who was interested in my plans.
Ralf-Peter put my boards through the tablesaw and I, at a safe distance from the blade, supported the boards as they came off the saw. We milled two gunwales, two chines, and a keelson for my kayak. After we loaded the milled pieces back on the car, I paid Ralf-Peter with a chocolate cake.
During the previous weeks of planning, I had figured out the perfect, secluded place to build my boat: my grandma’s garage. It is not very big, but if I kept the door that connects the garage to her garden shed open, there would be just enough space for an 18’ kayak and some tools. I had tidied up and moved out old flower pots, garden furniture nobody needed, and bits left over from projects my grandpa had done decades ago.
The space was small, but I’d have it mostly to myself and be free to make every mistake on my own. I trusted my grandma would not get involved too much, unlike my father or some people from our paddling club. I had a very good connection to my grandma ever since I was a small child. Her name is Ingrid, but I always called her Lieblings Oma— “Favorite Grandma” in German— when I was little, and only when I grew a little older did I learn that this was not very nice for the other grandma, so I just called her Ingrid or Oma. I would spend a lot of time in my late granddad’s little workshop as a child and was allowed to use some of the tools that he had left in the cellar. As I grew up, Ingrid would be the only person to witness my budding skills and trust me enough to let me do useful things, like install a ceiling lamp in her living room and doing minor repairs around the house.
Working at my grandma’s place had another great advantage: every day around noon, that good soul appeared in the dusty doorway to my wooden cave and called for lunch. A few hours later, there was cake. Or ice cream. Or both.
As lovely as this was most of the time, it became a kind of stress factor over the time I worked there. One day, while I was painting the frame, with my hands full of sticky boat oil, she could not accept that I did not, and could not, eat anything right then. She ended up standing directly next to me and shoving bites of ice cream into my mouth while I kept working. I accepted this to keep her happy, even though it really got on my nerves. Except from these minor occasions where I was stressed because of varnish needing my attention or steamed wood ready to be bent, we got along very well and I think she enjoyed having me there.
I quickly got into a routine of reading the book in the evening on the couch at home to memorize the next step I wanted to work on the next day. Then I converted all imperial measurements into meters and centimeters, looked up a few specific terms I didn’t know (English is not my first language), and put down some notes in German to use while working. This prevented a lot of time from being wasted while working in the shop.
As I shaped the gunwales, I built a few jigs to help with marking all necessary mortises and drilling holes in the correct angle and make it more efficient and precise. After about a week, they were ready to put on the building forms that would hold them in their proper angle and shape. This sounds easier than it was. As soon as one end of both gunwales was put into a form, the other end sprung apart, adding to the chaos in the crowded garage. After a few attempts I asked Grandma to help me and hold one end while I worked on the other. Together we finally managed to put the forms on. With just the gunwales sprung around them, what I had made already was looking like a kayak.
Oma is way over 80, with age-worn bones and joints that barely allow her to walk properly, but she would never refuse an opportunity to help me with minor things on the kayak. She would look very content to be part of the project and was at least as proud of the boat as I was, but never trusted it would be seaworthy. She had been afraid of the water her whole life, and never learned to swim, so she expected the river would swallow me and the boat the first time I slipped into the cockpit. I tried to convince her it would stay afloat, or at least sink slowly enough for me to get out, but I don’t think she ever believed me.
The weeks followed the same routine: I’d have breakfast with my parents before they left for work, drive to my little boatshop, work on the kayak for a few hours, have lunch with Grandma, work some more, have some cake or dessert, and then go home to do some paddling, horseback riding, or play my saxophone.
Every morning, I arrived to find my kayak lying there, waiting for me. The garage was fragrant with wood, reminding me of when my dad took me shopping for wood when I was little. Even the shop floor, littered with shavings and wood dust, had its own bouquet.
When I opened the door to the garage, sunlight gave it a nice golden glow and the warm spring air and the songs of birds filled the space. As the weather grew warmer, the garden behind the garage came alive. It was full of flowers of every kind and color, but especially roses, which my grandma loves most. Some of them are much older than I am—they were planted by Ingrid’s mother. She is a good gardener and spends almost every day in her garden. Nearly every week, there are new flowers blooming somewhere. Among the flower beds there are herbs for cooking and a little grassy lawn to just lie upon and watch clouds drifting across a blue sky.
As spring warmed toward summer and I worked with the garage door open, I became entertainment for the neighbors. Little Emilia, who lived next door, was at first afraid of me and my electric sander because it is so loud, but when I switched it off, she was too curious to stay outside any longer. Sitting in the half-finished frame and using a little broom as a paddle, she laughed so loud that her older brothers came over to see what all the fun was about.
My grandma also did her part spreading the rumors about the girl building a boat in a garage, giving tours of the shop and showing the kayak to everybody who came to visit, but only after I went home for the day, because she knew I did not want the attention while I was working. She even showed it to a handyman who had come to the house to repair a broken window blind. After he saw the kayak and admired the work I’d done he said, “And this was really built by a woman?” Grandma was still very angry about that comment when she told me about it the next day.
The nine straight deckbeams and the two arched deckbeams forward of the cockpit were attached with pegs angled through the gunwales; the ends of the gunwales were joined with trunnels and lashings. As someone who has never worked with wood before, I was amazed how strong and stable the delicate-looking framework was at this point, even if it was just the deck and the whole hull was still missing. Resting on two work stands, it could support my full weight without any significant flex.
The hull consists of ribs made from ash and steam-bent to achieve the shape of the hull. Before bending, the ribs needed to soak in water for a while. After a lot of looking around, the only fitting container I found was the old bathtub in the cellar, dating back from when the house was still divided into two separate flats and my great-granddad had his bathroom in the cellar.
Steaming and making the bends was the step I was most afraid of and thought was most likely to go wrong. Just in case, I ordered more wood than necessary to have some backup. I made the steambox out of Styrofoam and attached a steam generator meant for removing wallpaper. When it was fired up, the workshop smelled and felt like a sauna: hot, wet, and fragrant from the heated wood.
Steaming the ribs for the first time was a stressful task. The ribs are in danger of breaking, and I could scald my fingers. This was not the time for me to answer questions or have someone getting in the way. Oma—always interested in what I was doing and eager to hear that the next steps of the construction would be—stood between the kayak and my steambox, asking way too many questions while I was intensely focused on bending the wood. As I was doing it for the first time, I was not sure how important it was to stick to the steaming time exactly, and I did not want to take any chances. As soon as the wood is out of the steambox, it starts to cool and dry and becomes inflexible, so it needs to be bent without delay. This was the only time I ever had to throw Oma out of her own garage. I could tell she was a bit offended, so I explained the problem to her later and showed her all the parts I’d bent. That reconciled the two of us (well, mostly). I had to eat an excessive amount of ice cream afterward to finish making amends. After the ribs were all in their mortises in the gunwales and secured with lashings to keep them in place, I lashed the chines and keelson to them. I was amazed by the simplicity and the ingenuity of traditional Inuit boat building: pieces hand-hewn from driftwood, all held together with pegs and lashings. A few simple hand tools and materials gathered from the land produced seaworthy boats with such beautiful lines.
The last parts of the hull to make were stems, which I cut out of the pine boards Thomas gave me. They were lashed to the gunwales and attached to the keel by pegs. The ends of the chines were beveled and then pinched to the stems by a lashing that allows them to give a bit to dissipate impacts and accommodate the flexing of the kayak in rough water.
I made some minor changes to the stem shapes described in the book, just to fit my personal taste and the kind of kayak I wanted to build. I worried a bit about changing the paddling characteristics, as I knew there are many complex connections between shape of the kayak and its speed, maneuverability, and seaworthiness. A rolling kayak should have a minimal volume—the lower it sits in the water, the easier it is to roll—and I did not want to compromise the paddling and rolling properties too much, so I made only small changes.
The deckbeam that I’d brace my legs against is called the masik in Greenlandic. It had to be high enough to allow me to slip in and out of the cockpit and low enough to provide for a solid connection to the kayak.
To find out a perfect shape for my masik, I cut out a cardboard test pattern and clamped it to the gunwales to see if I could get in and out of the boat and sit in it comfortably as well. To test the long-term comfort, I sat in my boat, on the floor of the garage, and read a book for an hour. This attracted even more long stares from the people walking their dogs or on their way to the bus stop. Many of them I did not know—they probably lived a few streets away—and they passed without stopping, so I didn’t get to explain why I was sitting in my kayak with a book.
After adjusting the cardboard masik until I was happy with it, I traced its outline on a 2″-thick ash board and cut it out with a sabersaw. After I pegged it in place around the top inside corners of the gunwales, I attached the deck ridges just forward of the masik as well as the pair aft of the cockpit. The frame was finished. The weather was very nice and I gave my boat a little photo shoot in the garden before covering it with its skin, concealing the elegant structure for the next ten to twenty years.
With the frame finished, I decided it was time to give the kayak a name. I wanted a Greenlandic name, with a meaning that matches the boat. After some research and a lot of reading through various online dictionaries I finally settled for alleq, the Greenlandic word for the long-tailed duck—Clangula hyemalis—a species common in the Arctic and famous for being very vocal. That made it a good match for me—as a child I was often scolded for talking too much.
While the frame was complete, there was only one more wooden part to make, and that was one I was kind of afraid of: the cockpit coaming. It is a wooden steam-bent hoop and it would be attached only to the kayak’s skin. I’d had some splits develop when I was bending the ribs, so I made the stock for the cockpit hoop thinner. That worked quite well. I used thicker stock to make the coaming flange, which would hold the spray skirt. It failed when bending so I ended up making it in two separate pieces, joined with glued scarf joints. The end result had an acceptable shape and was pretty strong.
I gave the frame and the coaming three coats of boat oil, a mixture of boiled linseed oil, tung oil, and other natural oils. Its smell was not unpleasant but it carried a few hundred yards down the road, leaving the whole neighborhood smelling like a boatbuilder’s workshop. I often noticed people passing by with their noses up in the air, sniffing to figure out where the smell was coming from.
With all woodworking done, it was time to sew the skin on. ALLEQ’s skin is made from cotton duck, which would later be painted with oil-based boat varnish to make it strong and waterproof. To get the skin on without having wrinkles on the finished boat, I waited for a very hot and sunny day, because cotton canvas can’t be fully stretched when it has moisture in its fibers. It takes two working together to get the skin pulled really tight—one to pull the canvas tight and the other to staple it, temporarily, to the gunwales—so, for the first and only time during my build, I asked Martin to help me.
I was so nervous and excited when we arrived to do the work on my grandma’s terrace. I warned her that we wouldn’t be able to stop in the middle of the process, so she brought her armchair and cup of coffee outside and settled in to watch us in silence. In the glaring sun, with the temperature climbing into the 80s, I felt a little sick when Martin and I started to work.
Finding a good position to pull the skin tight on the frame of the kayak led to a few funny positions, but Martin is used to crazy jobs from working in Ralf-Peter’s workshop as a student and did not complain. Ingrid stayed in her armchair all day, sometimes smiling or grimacing as she watched us struggle, and wisely kept her thoughts to herself.
We managed to stretch the skin over the hull, holding the tension with a neat row of staples along the sheer, and sewed half the deck by evening. Sewing up the rest and removing the staples took me another two days, but I could easily do that alone. The cockpit coaming was attached to the skin by sewing as well, resting its forward end on the masik, and the aft end steadied by the two aft deck ridges.
When all sewing was finished and ALLEQ already looked ready to go, the time-consuming process of coating the skin started. I wanted to do it with the natural oil-based varnish, to avoid any harsh chemicals and having to wear breathing protection while working. This meant having to put on several layers of varnish, each of which needed to dry for at least 12 hours before I could paint the next layer. As the boat always had contact with the stands I placed it on, I could only paint either the hull or the deck each day.
The whole building project had gone on much longer than I had planned: I had started working on my PhD project full-time in June, and the kayak’s progress was slowed down as I was only able to work on it on weekends and some afternoons.
Summer slowly faded into autumn, the days grew shorter, the weather got colder, and I slowly became tired of a routine of work–varnish–eat–repeat. In the end, I went to the garage every day to sand the varnished surface and then brush on another layer not because I enjoyed doing it, but because I wanted to get it over with. Grandma had started to worry about where she could put her garden furniture over the winter if my kayak was not finished—another reason to pull through and get it out of that garage.
The varnishing went on for three weeks and I finally finished it in time for our kayak club’s end-of-season paddle at the beginning of October, roughly five months after starting the project.
From the beginning, I was looking forward to bringing ALLEQ to the club without any announcement beforehand, to enjoy the surprise on people’s faces. On the day of the tour, I took the car with the roof rack to my grandma’s house and loaded up the boat with a little help from Martin. Then we drove ALLEQ over to the club slightly early, placed the gleaming amber kayak on the grass in front of the boathouse, and waited. Two more friends arrived who knew what was going on, so there were four of us, standing in the doorway, giggling, and brimming with excitement.
My plan was fulfilled: people stopped, looked a little confused, and started searching around for whoever placed the kayak there. There were lots of questions and even more compliments. Some people did not even realize the boat was self-built and thought it was bought somewhere. I was really happy to answer all questions and…I enjoyed the attention. I had kept quiet about the project all along, to make this moment even more fun and special. Now I enjoyed it as best as I could.
When everybody was ready to go, we finally took ALLEQ down to the river Ruhr. Getting aboard was a little bit tricky as expected, but worked out fine and I stayed upright and dry. Finally paddling my boat, I could not get my huge grin off my face: ALLEQ paddles very nicely, is very maneuverable, and is faster than I had imagined. Unfortunately, Ingrid could not be there on the day, as it would be too far for her to walk from the parking area to the water to see us depart, but I took lots of pictures for her and promised I would find a place where she can watch me paddling ALLEQ without having to walk far.
ALLEQ looks good on the water, very sleek and elegant, and, when I’m aboard, rests perfectly in the water with just enough freeboard. Sitting on the bare wood slats is much more comfortable than I had anticipated. I had planned on putting in a seat cushion later, but that does not seem necessary. I did, however, add a piece of pool noodle around the coaming as a backrest.
The weekend following the launch, I took ALLEQ to a pool session for kayaks, and it again fulfilled my expectations. It rolls better than my sea kayak and its masik gives me a very good connection; I could easily complete some rolls that were difficult before. For the first part of the session I was so busy answering questions that I barely had the time for rolling. Everyone at the pool was surprised by the kayak from the moment it arrived. There was an endless stream of compliments.
Martin and his father both were eager to try the kayak, but it was built to fit me and was too small for them to slide into the cockpit even though they can easily fit and paddle all my other kayaks. Neither of them is that much bigger or heavier than I am, but their feet are at least two sizes bigger, and that is enough to form two bumps in the deck when they try to slip into the cockpit. My parents were not very interested in the kayak, and did not see it launched and paddled, but they happily listened to my report about the event the next day. I am pretty sure that they are secretly proud of my work and that I achieved it all alone, especially my dad, but he would never tell me.
For myself, I am very happy with the outcome of the project I had taken on and seen through. I had feared that there would be visible flaws on the finished boat and that the kayak would not paddle with the modifications I had made to improve its rolling ability. The project was a huge success, and gave me a lot of confidence in my abilities. I am a little worried about being overconfident, but I believe future projects, like making a Greenland paddle for ALLEQ, will work out if I just take the time and try.
Martin got a new job and we were able to move into a new home of our own. It needed some work and, when we began to remodel the kitchen, I was suddenly responsible for all the sawing, because Martin said I was the one with the skills required. He cannot have been entirely wrong, because all of the countertops fit quite well, and our new kitchen is working just fine.
Isabelle Heker lives in Essen in the Ruhr area of western Germany. She is currently working at the University Duisburg-Essen in the laboratory and writing her PhD thesis in microbiology/biochemistry. She was introduced to paddling by Martin about four years ago, and since then accumulated a collection of eight kayaks and two canoes. Paddling soon took up an increasing part of her life, with membership in a club, paddling holidays and tours, and organizing and instructing paddling courses for the university’s sports program. The Greenland-style kayak, ALLEQ, was her first attempt at boatbuilding. She had no previous experience in woodworking, but used to repair fiberglass boats with Martin sometimes when necessary. When she is not paddling or working, she is horseback riding or playing saxophone in a Big Band.
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.
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