The older I get, the more safety conscious I become. Every year I add to the emergency kit I bring on my small-boat adventures, but as yet I’ve never carried pyrotechnic emergency flares. My reluctance stems from wariness: I’m averse to the explosions that launch aerial flares and the slag that drips from handheld flares. I don’t want to chance burning a hole in dry bags or sails, further endangering me in an emergency, or risk swamping or capsize by holding a flare far over the gunwale. Flares are also bad news from financial and environmental perspectives. A basic set costs about $30 and expires in around three years, providing the flares don’t get damp or damaged, a likely occurrence on a small boat. Once their expiration date has passed, flares no longer meet Coast Guard requirements and have to be replaced and eventually disposed as a hazardous material. All that aside, do they work? According to many reports, including an article from the safety-oriented BoatUS, flares, lasting from a few seconds to a few minutes, aren’t actually very visible.
So what’s a small-boat sailor to do? The new battery-powered SOS Distress Light from Weems & Plath may be worth considering as an addition your kit. Introduced to the market in January of this year, the light is currently the only one of its type to meet Coast Guard requirements. There are many emergency strobe lights with simple on/off flashing, but they don’t qualify as substitutes for flares.
The SOS Distress Light is modest in size, with solid construction. Measuring approximately 8″ tall and 4 1/4″ at its widest point, it can stow easily in a small boat. Made of orange plastic, it has anchors for two shock-cord straps that I find useful for securing the light to a spar or an oar handle. A dense foam ring protects the unit and allows it to float upright should it be dropped in the water. A clear plastic lens projects light upward in a focused beam and outward horizontally through 360 degrees. The device is powered by three C-cell batteries (not included). You rotate the lens clockwise to turn the light on, counterclockwise to turn it off. Continuing to turn the lens counterclockwise removes it to provide access to the batteries. Two O-rings make a watertight seal between the lens and the battery housing.
The light is produced by a single LED dome about 1/16″ in diameter, and the circuitry connected to it produces an SOS pattern—three short flashes, three long flashes, three short flashes—timed to meet Coast Guard specifications. The light quality is crisp and clear, but not blinding. The packaging claims the light “runs 6 hours at peak intensity, total illumination 60 hours.” I left the unit on for 24 hours straight, and it did not dim noticeably. Even after 50 hours straight, the unit still provided enough light to be useful.
I initially thought the light seemed too small to have much effect at a distance, but when I took it outside at night, it was surprisingly visible. According to the manufacturer, the light can be seen for up to 10 nautical miles. It’s easiest to spot any signal light in near total darkness and when there are no other lights in its vicinity. I found the SOS Distress Light to be clearly visible at a half mile, the longest range I could find where I wouldn’t create a false alarm. While the device is intended for nighttime or low-visibility conditions, it is somewhat visible by day.
While the light is designed to float upright with its lens above the water, it can be obscured by waves at short distances, and by the curvature of the Earth at long distances. Raising it attached to the handle of an oar can extend visibility, but because the light is projected in a horizontal plane, the light should be kept as close as possible to perpendicular to be most effective.
Even though we small-boat sailors are not often far offshore, a small craft can be hard to see, especially in rough water. In an emergency during daylight hours, the SOS Distress Light, in conjunction with a VHF radio or an EPIRB, could be very useful in guiding rescue crews once they’ve arrived at the general location. The light projected from the top of the lens can then be aimed at potential rescuers. Having a nighttime distress signal that can flash a universally recognized distress signal for hours can have a distinct advantage over relying on the brief lives of incendiary flares.
As you start to review your emergency supplies for the season ahead, consider adding or replacing those flares with an SOS Distress Light. It’s a good long-term investment in your safety, meets Coast Guard requirements, and is easy on the pocketbook and the environment.
Bruce Bateau sails and rows traditional boats with a modern twist in Portland, Oregon. His stories and adventures can be found at his web site, Terrapin Tales.
The SOS Distress Light comes with a plastic 34″ x 36″ daytime distress signal flag (a black ball and square on an orange background) and retails for $99.95. It is manufactured in the USA by Weems & Plath and available from the manufacturer, The WoodenBoat Store, and many marine chandleries.
UPDATE: 12/16/2020 Weems & Plath no longer lists the SOS Distress Light on its website and the WoodenBoat Store no longer has stock and doesn’t know if they’ll be resupplied. There is a nearly identical device under the Sirius Signal brand for $89.95. For a newer and more compact SOS distress light from ACR, see our review in the December 2020 issue.
If you have an interesting story to tell about your adventures with a small wooden boat, please emailus a brief outline and a few photos.
Ned Farinholt of Winchester, Virginia, had a career as an electronics engineer, so it’s no surprise that he took an interest in electric boats. They had fallen out of favor since their beginnings in the middle of the 1800s but have been making a resurgence with the development of new technology in batteries and motors and a growing concern for the environment. In 1992, a group of enthusiasts formed the Electric Boat Association of America, dedicated to “the enjoyment and promotion of clean, quiet electric boating.”
To encourage advancements in electric boats, the association created the Wye Island Challenge, a 24-mile-long electric-boat marathon that starts and finishes in St. Michaels, Maryland, and loops around Wye Island. The island is surrounded by estuaries and rather protected waters, but to get to the island racers have to cross 5 miles of open water and may encounter up to 2′ Chesapeake Bay chop.
Ned’s first entry in the race was in 2011 in a 15′ aluminum utility skiff. Ned had been keeping tabs on the development of lithium batteries for electric cars and chose lithium as his power source. All the other boats in that year’s race, whether using ready-made electric trolling motors, outboards and inboards, even gas outboards converted to electric power, were using lead-acid batteries, so his boat—ERGED ON—had a distinct weight advantage. He was the first racer to exceed the limits of hull speed and begin to plane.
“There was,” says Ned, “considerable teasing about my hot-rod approach at a gentlemen’s game. I resolved that next year that I would come back with a pretty boat.” His only boatbuilding experience had been making a plywood kit kayak with one of his grandchildren. He searched for plans for a boat he could build in plywood. To do well again in the race he needed a boat that could exceed hull speed. Other racers, working with the same idea, produced multihulls, long slender shells, and even hydrofoils. Ned decided upon a planing hull, the best option for his boatbuilding skills and the space he had in his shop. He found Charles Mower’s WHIZ, a skiff the well-known naval architect designed in 1926 for the Johnson Motor Company to complement their new 6-hp outboard.
Ned stretched the 16′ hull to 18′ 10″. He built the boat over molds, in the traditional manner, but used plywood and stitch-and-glue construction. There was too much twist in the bottom at the bow, so he had to use three strakes instead of a single panel to take the shape.
Before decking the boat, he did sea trials, using used a Torqeedo 4 electric outboard. Consuming 4.5 kW of power, the motor brought the boat up to 12 mph. That more than met his expectations, and Ned later entered the finished ERGED ON II in the 2012 Wye Island Challenge. He won but didn’t do as well as he had expected. The motor began to overheat and automatically cut back to 3.5 kW to protect the electrical system. Ned solved the problem by adding a second Torqeedo 4 and another bank of batteries. That stood him in good stead in the 2013 race until he cut a corner in the Miles River, clipped an oyster reef, and knocked out an engine. With the remaining engine he was able to finish in second place. The following year he gave the shoals a wide berth and won the race, in spite of having the extra weight of a passenger aboard.
In 2015 conditions on the race course were roughened up by a 15-knot wind, and only 6 of the 11 boats that started finished the race. Ned, with his wife Marilyn aboard, broke the two-hour barrier, but he wasn’t alone. John Todd, in MISS WYE, his slender 20′ racing hull, also broke the two-hour barrier, finishing 11 minutes ahead of ERGED ON II. Ned may be back this year, pushing for more quiet speed.
Have you recently launched a boat? Please email us. We’d like to hear about it and share your story with other Small Boats Monthly readers.
Ron Frenette of Canadian Canoes emailed me after he’d seen the Dragonfly rowing shell featured as the Reader Built Boat in our January issue. He elaborated on the reasons the Dragonfly wasn’t developed more for home builders: “At one time we thought this would be a great project for many, but I suspected the amount of space required would be a deterrent.”
That led to swapping stories about boatbuilders with a will finding a way when space is an issue. Rann Haight, as you may recall reading in the December 2015 issue, designed an oversized garage for his home to allow him to build a 26′ dory. My friend Eugene Arima, a well known authority on Arctic kayaks, didn’t have enough room to build a kayak in his walk-up flat in Ottowa, so he built it in the longest space he had: the stairwell. It’s the only boat I know that was constructed on the diagonal.
Sometimes the “way” comes unintentionally, late in the game. Ron mentioned that one of his customers “built a 17′ Redbird canoe and it would not come out of the basement where it was built. Several thousand dollars later, he had a whole new basement entrance with a sliding door and one very unhappy wife!”
I had a similar experience building a lapstrake decked canoe in the basement of a rental home in Silver Spring, Maryland, when I was working for the Smithsonian Institution in Washington, D.C. I had carefully measured the window that I’d intended to use to get the canoe out of the basement and the beam and depth listed in the plans would result in a boat just small enough to slip through. When I finished the canoe I tried to move it out of the basement and soon realized that the outwales were not included in the measurement for the beam. The window had a steel frame so I took a hacksaw to it and cut two notches for the outwales.
Before moving out of the house I filled the notches with aluminum and Bondo and painted the repair to blend in. That was in 1989 and when I was in the DC area a few years ago, I drove by and checked the window. The patches were still intact.
You’d think that was a lesson I’d have learned, but when I built my garvey cruiser HESPERIA on top of the pool table in the family room on the ground floor of my Seattle home, I had a similar problem. The hull should have fit through the door to the garage/shop and then out to the driveway, but it got hung up in the doorway.
I had to tear out the top of the doorframe to make room. That was only the first obstacle. The overhead furnace ductwork was at the same height as the doorframe and I had to remove the sheetrock covering it. The hatchet I need for the job was in a cabinet on the far side of the hull. The bottom of the boat was up against a corner that projected into the garage, so to get the hatchet I had to crawl through the small triangular space between the floor and the hull’s flared side. It was a tight fit and I could only advance if I emptied my lungs to shrink my chest. I’d exhale and squirm, then get stuck when I inhaled. It took a few minutes to get through and after I got the hatchet I had to inch back through the gap to get out. I hacked the sheetrock away and squeezed the hull through.
While I was building the boat several of my daughter’s friends bet I’d never get the boat out. Alison wasn’t doubtful, telling the skeptics: “You don’t know my Dad. He’ll tear the house apart if he has to.”
Initially designed for millionaires, the Passagemaker skiff is also ideally suited to thousand-aires like me. In addition to being a manageable “investment” at $1,349, the Passagemaker proved to be less onerous to build than I originally imagined. On completion, this skiff lived up to its touted versatility and its ability to carry loads and loads of all kinds of boating stuff.
The Passagemaker was created by John Harris, chief designer and president of the Annapolis, Maryland, based Chesapeake Light Craft (CLC) at the behest of PassageMaker, a magazine catering to anyone interested in big, expensive, power cruisers. “The editor was very specific in what he wanted the boat to do,” Harris recalls. The design had to be small and light enough to be easily hoisted, probably in davits, onto the stern of a trawler-style cruiser. Its length was to be 11′7″ and include the option of breaking the down into two parts, each with its own watertight integrity, and easily reassembled. It had to be robust enough to carry three people and all their gear comfortably and safely in protected waters where the mother vessel was likely to be anchored, moored, or docked. It had to be propelled easily with an outboard motor, oars, or a sailing rig, and, finally, it had to be good-looking.
Undaunted by such a tall order, Harris self-imposed a 100-lb limit to the skiff’s dry weight, a goal he more than met by bringing the Passagemaker in at just under 90 lbs. This was achieved by drawing on the handsome form of traditional Norwegian prams and using modern materials and boatbuilding methods. The lapstrake design of the original prams lends itself to CLC’s LapStitch method for stitch-and-glue plywood. The overlapping joints are self-aligning and offer plenty of gluing surface area and an attractive appearance. Using mostly 1/4″ (6 mm) stock for the four strakes, bottom, and other pieces helped keep the weight down, while fiberglass cloth and epoxy added stiffness and durability. By the time the design was ready for the CNC cutter, Harris was well on his way not just to meeting all of the PassageMaker magazine specifications but also to creating a boat that would have a broad appeal. He introduced his Passagemaker in 2005, and since then CLC has sold more 500 of the kits.
When my Passagemaker kit arrived via UPS, I anticipated few problems. The space needed to put the Passagemaker together turned out to be considerable, but I had the luxury of working in a big, open barn; a single bay in the standard two-car garage would be a pretty tight fit, making some construction processes more onerous than they might otherwise be. The MAS epoxy CLC recommends and sells exceeded my expectations. With several decades of experience working with other brands, I was impressed with how well MAS epoxy flowed and laid flat and even. It had essentially no odor and stayed perfectly clear on the surfaces I coated with it for protection. MAS epoxy is non-blushing and does not create a waxy film on its surface as it cures. That eliminates problems blush can pose when applying subsequent coats of epoxy, varnish, or paint.
All of the planks for the Passagemaker arrive in two parts and have to be made full-length before they can be assembled into bottom and sides. My Passagemaker kit was an early version, and plank pieces had to be scarfed together. Slathered with epoxy and clamped, the slanted surfaces slid against one another when pressure was applied by weights or clamps. CLC solved this problem by changing the scarf joints to puzzle joints that assure much greater precision, and eliminate the messy task of trying to keep scarf joints from moving about.
Pre-drilled holes for the CLC’s plywood panels are also a big improvement over earlier iterations of the Passagemaker kit. The locations of the holes are determined by computer and each pair is matched up directly across the lap, so wire ties ensure greater precision. I had drilled the holes myself on an earlier project, and ran the risk of having the assembled strakes ending up out of whack with each other at the ends. Pre-drilled holes also save a tremendous amount of time.
The construction of the Passagemaker is pretty straightforward, even if you’re a beginning do-it-yourselfer. The free customer support via telephone was excellent. I called only once with a question about an obscure aspect of the construction process. The CLC representative didn’t have the answer when I called, but he called me back in about 20 minutes with the information I needed. Two other CLC kit builders I know reported excellent customer support on many aspects of the construction process.
CLC has a list of tools and supplies you’ll need for the project. None of the tools needed to complete the Passagemaker are particularly expensive, and they’re all worthy additions to the shop of a beginner do-it-yourselfer. You can’t have too many clamps. A half-dozen C-clamps are particularly useful, and spring clamps, bar clamps, and deep-throat clamps come handy, especially if you are working alone. Having a wide variety of clamps can keep the work moving along if an extra pair of hands is unavailable. I clamp pieces together for a dry run before I mix epoxy. I know from experience that when parts don’t go together quite as expected after epoxy is applied, things can get very messy. The puzzle joints are virtually foolproof, but it’s always wise to work any bugs out before the epoxy gets stirred.
CLC’s website offers weeklong classes in which many of their boats can be built in a week and taken home for outfitting and applying a finish. Without the benefit of CLC’s shop, tools, and expertise, even an accomplished do-it-yourselfer cannot assemble a Passagemaker in one week and enjoy the process. It took me 125 hours to complete a Passagemaker, and that included painting, varnish, and setting up the sloop rig. With the new puzzle joints and the pre-drilled holes for the copper-wire stitching, the time commitment could be under 100 hours.
On my first few rowing and sailing outings with the Passagemaker, I was alone and without any load aboard. The high volume of the hull makes the boat sit high in the water, and the generous rocker sets the ends high; the skeg is only partially immersed, and the overhanging bow can catch the wind. In a 12-knot breeze, having some sand-filled bags in the bilge settled the boat deeper in the water, and I was better off both rowing and sailing. Leeward drift in my sloop-rigged Passagemaker was significantly reduced by putting some weight in the bottom. To be fair, the boat was designed to be filled with up to 650 lbs of cargo—passengers, groceries, dogs, or whatever—and the more you fill it up, the better it performs.
The boat worked best with lighter people and goods well forward or aft, and the larger, heavier portion of cargo amidships. Keeping the ends light makes the boat quicker to respond to waves and lift over them. At first, when I sailed alone, I sat well aft, handy to the tiller and rudder, but this set the bow higher than it needed to be. Sitting amidships put the Passagemaker in better trim and might have led me to make a tiller extension and new leads for the jibsheets. Before making any modifications, I tried loading my sand bags at the base of the forward seat. I found I could sit comfortably aft, and the boat performed very well. And only 100 lbs of sand was needed for good sailing results on my solo outings.
Designer Harris reports the single-sail lug rig is more popular than the two-sail sloop rig I built. I’d agree that the lug rig would make sailing simpler, but either sailing rig is well worth the investment: Sailing is the best way to enjoy the Passagemaker. The Passagemaker can carry an outboard from 2 to 4 hp. With my 3-hp motor I found it performed best when loaded, with the weight properly distributed fore and aft.
The latest version of Passagemaker is a take-apart model, one that breaks into two sections, and after the stern seat is removed and placed in the bow, the forward section nests in the stern section for very compact storage and transport.
Harris notes most Passagemakers are built for their own sake, not as a tender for a big trawler. “It’s an enormously versatile boat, and most people seem to build them for the self-esteem that a project like this brings,” he reports. I’d agree that the Passagemaker has much more to offer than mere utilitarian service as a tender.
Ken Textor has been writing about, working on, restoring, building, and living on boats since 1977. He lives in Arrowsic, Maine.
Particulars
[table]
Length/11′7″
Beam/56″
Weight/90 lbs
Maximum payload/650 lbs
Draft/6″
Draft with daggerboard/30″
Sail area/78 sq ft
[/table]
Chesapeake Light Craft’s library of videos includes Passagemaker construction, rowing, and sailing. Plans, an instruction manual, and a variety of kit options, including a gunter sloop or a lug rig, are available from Chesapeake Light Craft.
Is there a boat you’d like to know more about? Have you built one that you think other Small Boats Monthly readers would enjoy? Please email us!
Several years ago, I was standing on the banks of the River Thames watching a boat sailing by at the annual Beale Park Boat Show. It was a small, double-ended dinghy obviously inspired by Scottish workboats but built of modern materials. As a longtime enthusiast of Iain Oughtred’s double-enders, I was mesmerized by this little boat that seemed to encapsulate the essence of a salty workboat, pared down and reduced to its bare elements. The Storm 15, first offered as a wooden kit and then reproduced in several sizes in fiberglass by Swallow Boats in Wales, was almost brutal in its simplicity and showed how traditional designs can be successfully reinterpreted in a modern style.
Ten years later, standing on the deck of a camera boat on the south coast of Devon, I was similarly struck by the latest offering from Swallow Yachts, as they’re now called. There was that strong sheer, plumb stem, and dramatically raked sternpost, combined this time with a fully battened, square-headed Bermudan mainsail. Tacking off the timeless, craggy coast of Devon, the Storm 23 looked decidedly unconventional, even kooky, and yet there was something about her that inspired confidence: a purposeful air, a look of intent, almost of defiance. And, while there was no one else on the water that late autumn day, there’s no doubt that in any fleet of boats, the Storm 23 would stand out by a mile. She’s nothing if not striking.
It came as no surprise that Christian Fortmann, the owner of the first Storm 23, has sailed a Storm 17 for the past 10 years. His main use for the boat is sailing on the lakes close to his home in Munich, Germany, but once a year he takes it on the family holiday to the village of Newton Ferrers, Devon, in the southwest corner of the U.K. Idyllically positioned at the mouth of the River Yealm, the harbor at Newton Ferrers opens straight onto a rocky and unforgiving stretch of coast. It’s a great cruising ground, with Salcombe and other pretty villages to the east and the River Tamar and the whole of Cornwall to the west, but get it wrong and you can soon be in serious trouble—as many an unfortunate ship has discovered in the past. With his family growing up and his sailing ambitions growing too, Christian asked Swallow Yachts to built him another boat. His brief was simple: “Like the Storm 17, but bigger.”
There were other criteria that dictated the eventual shape of the design. The boat had to be trailerable, so it could be easily transported to the lakes and to the U.K., which immediately raised the issue of ballasting. And Christian wanted to be able to sail with his whole family, necessitating a fair-sized cockpit, or on his own, meaning the rig had to be reasonably easy to handle. These were just some of the issues the boat’s designer and builder, Matt Newland, had to juggle with in creating a boat “like the Storm 17, but bigger.”
Matt applied a modern solution to the problem of ballasting: water ballast. The Storm 23 is fitted with ballast tanks capable of taking 500kg of water, thereby doubling its displacement. Combined with 215 sq ft (20m2) 0f sail, this gives her, according to Matt, a sail area to displacement ratio of 16.9 with her tanks full, similar to a medium-displacement cruiser, and 23.3 with her tanks empty, closer to a racing boat. It’s a neat solution which should make the boat easy to trail and exceptionally fast in light winds, but which has certain ergonomic consequences, as we shall see later.
In keeping with all their made-to-order wooden boat designs, Swallow built the Storm 23 in epoxied plywood, using mostly 9mm ply. The trim is made of utile, a West African hardwood with an interesting interlocking grain.
Stepping on board the Storm 23, the first impression is of a thoroughly modern, well-thought-through design. The deck, cockpit, and cuddy are all made of clean white panels, and could just as well have been made of fiberglass as plywood (and no doubt this is done with an eye to eventual production in ’glass). What brightwork there is, is mainly decorative trim, with the exception of the tiller.
With the bilges filled by ballast and buoyancy tanks, the cockpit floor of the Storm 23 is set quite high—so much so that the centerboard case is almost entirely buried under it, with only the topmost edge protruding above. It takes a bit of getting used to, but the overall effect is to increase cockpit space and maximize legroom. It also allows unhindered access to the small cuddy forward. The cuddy itself is 6 1/2′ (2m long), but with minimal headroom, it provides only a very basic sleeping area. Most of the time, it’s likely to be used as a large and very convenient storage area.
There are some neat tricks, such as the telescoping swim ladder concealed behind a hatch in the topsides. It can be accessed in seconds. Under the aft deck, there’s just enough space for an outboard well—in this case housing a Torqeedo electric outboard. The rudder is set on a long pintle so it can be raised with minimal effort in shallow water or for launching and recovery on the trailer.
The rig itself is unabashedly modern, with carbon-fiber spars and matching black hardware for the running rigging. There are nods to the boat’s traditional heritage, such as the leathering around the mast and a wooden locking bar where the mast passes through the foredeck, but these are the exceptions. It’s all very clean and uncluttered, with even the roller-reefing mechanism tucked out of sight under the foredeck. Matt has done away with crosstrees on the mast to reduce windage and simplify the rigging process, while the square-headed mainsail makes for a shorter mast, which means less overhang on the trailer.
It was late afternoon by the time we made it out of the harbor entrance, and the last of a 10-knot breeze was pushing up a chop which bounced uncomfortably off the cliffs. The boat’s ballast tanks were empty for the photos, and she seemed slightly tender to start with. With her hard-chined bottom, she has a tendency to slam when sailing empty, but this was quickly rectified by adding some ballast. And it was easily done. Christian simply opened a watertight hatch on the cockpit floor, reached inside, and opened a forward facing, gateless self-bailer to let the water in. Once the tank was full, he reached inside again and closed the bailer. To someone hard-wired to keep the water out of a boat at all times, it was quite disconcerting to watch the sea flooding in, but Christian assured me there was so much buoyancy, the tank would stop filling long before the boat sank. The tank is also equipped with standard rear-facing bailer for emptying, although a hefty bilge pump takes the ballast water out faster when the boat speed is low and you want to lighten up because the wind has died down.
With the boat’s displacement effectively doubled, the boat settled into a groove and gave a much more comfortable ride. The Storm 23 has a relatively small rudder, but her double-ended shape means the water flows steadily past it, giving excellent steerage at any angle of heel. Even with her long, straight keel line, she’s easy to maneuver and doesn’t get stuck in her stays. And she’s certainly nimble. We didn’t have a log on board when I sailed her, so I couldn’t measure her exact speed, but she accelerated well out of every tack and skimmed across the chop with gusto, thanks to her slender, easily driven hull.
With her efficient rig, lightweight construction and 5′ 4″ (1.6m) deep centerboard, the Storm 23 performs more like a modern dinghy than the Scottish workboats she was originally inspired by. According to the sales literature, this combination “gives her blistering upwind performance and if well set up she will point as high as anything else afloat.” There were no other boats on the water that day to test that claim, but certainly the boat pointed well enough to take us quickly off a worrying lee shore and safely into deep water.
As the sun lowered, the cliffs and hillsides were bathed in a golden light that looked as if it had come straight out of a tourist brochure. The Great Mew Stone, a distinctive double-wedge shaped island, was silhouetted on the horizon with Rame Head in the distance. I could see why Christian wanted a bigger boat to explore this enticing but dangerous coast, with its idyllic hidden beaches protected by lines of jagged rocks. He could pull the Storm 23 up on a beach—it draws only 9.8″ (0.25m) with the board up—and enjoy a picnic with the kids, and then push off and sail home in comfort and safety when the prevailing southwesterly starts to build.
With the Storm 23, Swallow Yachts have achieved that and created a stylish and distinctive little boat that will provide a lot of fun for Christian and his family and other families just like them.
Nic Compton is a freelance writer/photographer who grew up sailing dinghies in Greece. He has written about boats and the sea for more than 20 years and has published 12 nautical books, including a biography of the designer Iain Oughtred. He currently lives on the River Dart in Devon, U.K., and sails two boats designed by Nigel Irens.
"Is that really necessary?,” I teased Andy, pointing to the tripod strapped to his pack. Andy, a veteran Outward Bound instructor, was the first of several paddling partners to accompany me on the journey I was about to begin, the first through-paddle of the Northern Forest Canoe Trail (NFCT), on May 1, 2000. In the original incarnation of this adventure I had imagined Andy and I would travel the entire 740-mile trail together, but his ties to his wife and work precluded him from making the full trip. I’d rendezvous with other paddling partners along the way and paddle solo in between.
TINTIN, my 16′ wood-and-canvas canoe, floated at the dock in Old Forge, New York, and with each armload of gear we loaded I watched the freeboard dwindle. I’d built the E.M. White canoe for this trip under the guidance of Maine builder Jerry Stelmok. My goal: cross the Northeast in a single season, under human power alone, following the Northern Forest Canoe Trail. The then-nascent water trail links a series of shorter routes used by Wabanaki natives and early European settlers to travel the region between New York’s Adirondacks and northernmost Maine. The trail is now well established and supported by a non-profit organization (see sidebar below).
“Like you’re going to use that axe,” Andy replied. I’d found the axe head rusted and abandoned the previous summer and refurbished it for this trip. While an axe was an odd accompaniment to my Leave-No-Trace ethic, it was the traditional tool for wilderness canoe travel—so I packed it. Though I’d been trained as a low-impact camper, I was fascinated by the era when the canoe was king, and Voyageurs were masters of woodcraft and living close to the land. I had imagined that my trip would have some of that raw quality, but I was hoping to do without the common Voyageur maladies of compacted spines and hernias.
At 28, I was still living with my mother when I wasn’t working for Outward Bound. My friends found this odd, but my Italian grandfather assured me that when he was a boy the practice of living with a parent at my age was standard fare. On the dock, I felt in my gut what I saw in my mother’s watering eyes, but in my last-minute frenzy culminating six months of planning, I pushed my sadness aside. I had taken plenty of backcountry trips, but never one as long as what lay ahead of me.
I dipped my fingers into the water and shivered. The lake was free of ice but surprisingly cold. Andy and I took our first strokes and glided away from the dock, passing rows of boarded-up summer cabins that lined the narrow lake. The still-bare branches arching over the shore looked brittle; the dull brown water barely rippled at our passing. TINTIN was the only boat on the lake. I turned several times to wave to my mother. She remained on the dock until we were out of sight.
Andy and I rode a wave of euphoria through the serene and sparsely populated Adirondack woodlands where lean-tos outnumbered cabins. But our spirits began to sink shortly after we portaged through the small urban center of Saranac Lake and launched in the Saranac River. The river’s rushing water brushed TINTIN’s hull with a line of scum; to replenish our supply of drinking water, we’d have to detour into the adjoining untainted wetlands. I was determined to treat my trip as a wilderness expedition by living off the supplies we carried and the water nature provided, so I refused to climb the riverbank and request tap water from the homes we passed. Grocery shopping was also out, even though the route occasionally intersected towns with markets.
The lower Saranac brought a succession of portages around dams and Plattsburgh’s urban clutter of bridges, noisy riverside roads, and industrial buildings before dropping us into Lake Champlain at dusk. Under cloudy skies we paddled south, hugging the shore as the lake unfolded to the east. After eight days without a rest my body ached, but I forced myself to maintain our tempo. Just before dark we reached Valcour Island, hauled our gear up to an exposed ledge, and erected the tent on a spongy, pungent bed of pine needles. South Hero Island, our next goal, lay 3 miles distant, a pencil line of land on the horizon. We’d need calm conditions for the open-water crossing.
“If the weather’s good tomorrow, we’ll have to go,” I said to Andy, secretly hoping that he’d persuade me otherwise or that rain, lightning, an earthquake—anything—would grant us a day off. Lightning pulled through and confined us to the thickly wooded island the next morning. I slept until noon. When the rain broke, I made chocolate-chip chapati bread while Andy inspected the torn canvas and gouged shellac on what had once been TINTIN’s unblemished hull.
The following day, under a grimy sky, we paddled to South Hero Island, surviving the longest crossing of the trip—a challenge that had worried me since day one—and worked our way north along the east side of the island. The shoreline was a sheer slab with no place to land, but after the crossing I felt much less anxious having solid ground nearby. I was even a bit cocky after our recent success, and it took me a while to notice the growing swells that were piling past us.
Andy dryly noted “a bit of chop, dude,” as TINTIN teetered on the crests of passing waves. As he strained to keep us upright, his blade barely left the water between strokes.
TINTIN’s stern bucked out of the water and I found my blade swinging through air. I pressed my knees into TINTIN’s flanks and leaned down to connect with water. The rough paddling was exhilarating until TINTIN was propped up on the back of a large wave and I found myself looking down at Andy’s head. Snapped sober, I traced the shore for a safe landing. A mile in, there was a break in the South Hero shoreline, and I took aim for the pebble beach there. After we’d hauled everything ashore, we climbed the bank and headed to the nearest home. A grumpy, half-shaven man burst onto his porch. Once we explained ourselves, he was kind enough to offer us a spot on his lawn for the night.
The next morning we made the 1.3-mile crossing to the Vermont mainland and pushed our way into the mouth of the Lamoille River. Days of rain had flushed a brown sediment-rich cloud into the lake. We inched upriver against a flood of current. High water swirled around tree trunks. We had no place to hide, no eddies to protect us. Poling was impossible. After two hours of hard paddling, my neck was electrified with pain. Near breathless, I grabbed a branch to hold TINTIN in place and give us a break while Andy filled his empty water bottle in the murk. Would the river be this brutal for all of its 75 miles? Andy was scheduled to leave the following day. Barbara would replace him, but she only had five days to paddle. It would be impossible to ascend the Lamoille alone; I pictured myself in a desolate swamp, creeping upriver one tree branch at a time.
After a single frustrating day fighting the current, we reached a small gravel boat launch in East Georgia, where I said goodbye to Andy and welcomed Barbara aboard. She ran the Outward Bound base where Andy and I worked. That first afternoon aboard TINTIN, she looked me straight in the eyes and declared, “Let’s get you off this river!” We charged upstream, and soon reached a 3-mile portage around a series of rapids. Barbara carried the Duluth pack, filled with fresh supplies and as heavy as lead. On our second day we continued to fight a powerful current. I shoveled water madly in the stern and Barbara put her back into every stroke. I couldn’t bear to look directly at the bank—I could see clearly enough in my peripheral vision that our progress upstream would have scarcely outpaced a slug. I tried poling but abandoned the attempt after a mishap sent us careening broadside to the current.
As we climbed higher into the Lamoille watershed, the banks were dotted with dandelions and the river wound through bright green farmland. The inside bends of the river held precious slack water where we could rest. Beyond the north side of the river, cropland snugged up to wooded ridgelines, a glimpse of the Green Mountains that run the length of Vermont from Massachusetts north to the Canadian border. The floodwaters had begun to recede, but even so the Lamoille never allowed us more than 10 miles a day. When Barbara waved goodbye along a quiet stretch of river, the full height of the land was still ahead of me.
After a final day of hauling TINTIN upstream, I reached Hardwick Lake, a 1 ½-mile-long finger of water snugly balanced between the abrupt sides of a conifer-draped valley. I raised my arms and hollered with only TINTIN to hear me—Hardwick was my farewell to the Lamoille River and the end of my week of toil.
At the far north end of the lake, I paddled into a stream about the width of a bathtub, ducked under some wire fencing, and soon found myself in a rocky meadow. As the setting sun grazed the treetops, I bumped into a tiny culvert bearing a dirt road that connected the steep valley sides. Beyond the culvert my stream disappeared into a tangle of alders. I was tired, wet, and needed to make camp.
I hopped the fence, and followed the road to a white farmhouse, the only building in sight. A collection of horse tack framed the front door. A dark-haired woman answered my knock, and after I explained my predicament she gave me permission to portage out of her pasture. I mentioned that the only hospitable tenting spot I had noticed was an open bluff about 100′ up the other side of the valley. She replied flatly that the property wasn’t hers and left it at that.
I shuttled everything to the roadside below the bluff and was bent over a pack when I heard tires crunching on the gravel behind me. I spun around as a blue pickup threw a cloud of dust over my gear. I was an odd sight with my packs and canoe: the only water within reach was the unnavigable stream. The passenger’s window rolled down. In the shadowy interior sat two large men and despite the dim light, I couldn’t miss the gleam of the shotgun placed between them. The passenger’s gaze was fixed upon me.
“What ya doing?” he asked casually.
“I was going to camp up there.” I immediately chided myself for stating instead of asking.
“No you’re not.”
My legs began to shake.
“I’m doing this crazy trip,” I blurted. “I’m headed to Maine.”
“Maine?” he said with contempt. “How are you getting from here to Maine?”
“From Lake Elligo, I’ll paddle to the Black River,” I talked fast, suppressing tears. “The Black will take me to Lake Memphremagog, then up the Clyde River and down the Nulhegan to the Connecticut…” His face softened. Still, he told me I couldn’t stay, but offered me a ride a mile and a half up the wooded valley road to an old tote road that would be suitable for camping. I thanked him, but declined the ride, and as they sped off, I readied for another portage, my fifth of the day.
Having walked 4 ½ miles to make the 1 ½-mile portage of canoe and gear, I slapped up my tent in the glow of my headlamp. I slid into my sleeping bag and scrawled in my journal “Will my body function in the morning?” I quickly fell asleep.
The Black River offered several days of welcome downstream travel. I meandered through cow pastures and took a rest day in a tucked-away pine grove. I found a pay phone and called my mother, who shrieked when she heard my voice. She told me that adolescence had been extended until 29. I knew she meant it as a vote of confidence, but all I could verbalize was a mumbled thanks. A day later, Cristina, a fellow Outward Bound instructor, joined me as we turned up the Clyde River and got blasted by what the map indicated as four consecutive contour lines’ worth of elevation gain. I had known that the Clyde would be against the current, but I had never studied the map closely enough to prepare myself for the true onslaught. All day long we were waist-deep in the water, lining TINTIN upriver.
“Was the Lamoille this bad?” Cristina complained.
No, I had to admit. Even the Lamoille let up now and again, but the Clyde remained constant for miles. At one point, we crept beneath the massive buttress of a cement bridge where cars rattled overhead. Cristina stuck it out with me until the river plateaued on a confusing wetland and I again had to part ways with another friend.
I went on alone, and suffered one final parting kick on the Clyde: 12 mind-numbing blowdown-induced portages in the span of two hours. Along the roadway portage to the Nulhegan, a policeman pulled over and for some odd reason, asked me if I owned my canoe. Our whole exchange took place while I had TINTIN weighing on my shoulders.
When I reached the Connecticut River, a wide-open channel warmed by a burst of evening light, it felt like a gift. I followed the Connecticut’s looping meanders south, then headed east on the Upper Ammonoosuc River. I regained my confidence with poling as I ascended its shallow waters into New Hampshire. The canopy overhead nearly blocked out the sky. The click of my pole on the pebble bottom startled a moose into a cross-river trot, water splashing around its knees. The corridor of diffused light brought a memory of a boyhood fishing trip with my grandfather and for the first time since the Adirondacks I felt at peace with the landscape.
Two days later, I was plowing east on a portage through a sea of spindly trees trying to find my way to the Androscoggin River. My tote road had petered out long ago. When I wasn’t tripping over roots, I was being slapped in the face by branches. And there were mosquitoes, lots of them. In a fit of exhaustion I tossed aside one of the two packs I was carrying and pressed on with the other. When I finally broke through to a logging road that would take me to the Androscoggin, I dropped the pack and without a moment’s rest reentered the overgrown jungle in search of the Duluth I’d abandoned. Five hours later, I had trudged just 4 1/2 miles and was back on the edge of boulder-strewn Phillips Brook where my portage began. I still had to get TINTIN across, but it was dusk. My supplies were with the packs and I had little energy. There was an empty yurt nearby, and after eating the last of the hummus in my day bag, the only food I had with me, I spent the night shivering in the yurt. The following morning, my ordeal continued, brightened slightly when a fisherman passing through told me that his grandfather remembered Native Americans using this same portage.
One month from the day I left Old Forge, I made the 2-mile crossing of Umbagog Lake’s remote northern bay, and traversed the watery border into Maine. I put on my only piece of unsoiled clothing, a blue-and-white-flowered Hawaiian shirt, and celebrated entering my home state and reaching the halfway point of the trail.
I clambered up the high bank at the mouth of the Rapid River and prepared for the 3-mile carry around the river’s Class III and IV whitewater. The trail wound through a cedar grove before climbing to drier ground and leaving the river’s tumult behind. A few hours later, I stopped at Forest Lodge, which sits on a hill overlooking the river. I stood by a pair of Adirondack chairs and gazed down a green lawn as it dipped to the trees that cloaked the churning waters. In the 1930s and ’40s, author Louise Dickinson Rich lived at the lodge. I had read her first book, We Took to the Woods, and been charmed by her tales of homesteading in the Maine woods of yesteryear. Louise, looking out from this same viewpoint, had witnessed everything from the whitewater fanatics of her day to one of the last long-log drives in the East.
Three days later, I paddled into the lakeside town of Rangeley to begin the 4-mile portage between the Androscoggin and Kennebec watersheds. Feeling strong enough to give double-packing another go, I plodded along the path over grass and then pavement. While passing a municipal tennis court, a red-haired and bearded man motioned to me.
“You’ve got quite a load,” he said.
“I’m doing this trip…”
“The Northern Forest Canoe Trail!” he beamed.
I was shocked to hear the name spoken aloud in connection with my efforts. At the time, the nonprofit organization devoted to the trail was barely months old. The trail wouldn’t officially open until 2006.
His family, a cherubic red-haired daughter and son and his soft-spoken, striking wife, joined us. The man put his arm around his son and grinned, musing that someday the two of them might paddle the trail.
“Did the Lakes have enough signs?” he asked.
I chuckled. Except for a few placards along the Saranac River in New York, the trail was unmarked with the notable exception of western Maine. He told me that he’d helped to post the signs throughout the Rangeley region. I wondered if he might have been responsible for putting up the very sign that had introduced me to the existence of the trail several years before while I was leading a trip for Outward Bound and set me on the course that carried me to that day.
A drizzle set in as I parted ways with the family. The simple kindness and encouragement they extended was a pleasant contrast to my solo travel and reminded me that my journey could resonate with others.
Another week of solitude passed. The rainy spring was over. The South Branch of the Dead River was impossibly strewn with rocks. I threw up my arms as I bounced between the boulders. Even before these new scrapes, TINTIN had stayed about as dry as my leaky boots. I was forced ashore every couple of hours to drain the puddle that lapped at my toes. Even though the Duluth grew lighter by the day as I gobbled a potful of dinner each night, I began to feel the dead weight of my little-used axe.
In the midst of paddling the windblown 21-mile length of Flagstaff Lake, I took a rest on a shrubby island and stumbled over old chunks of pavement, the remnants of a road that led to the village of Flagstaff before the Dead River valley was inundated by the building of a hydroelectric dam in 1950.
The next day, I heard the rumble of Grand Falls long before I ground ashore to make the portage. Below the 30′ falls and afloat once more, I poled up wide but shallow Spencer Stream and took the first tributary that I found, expecting it would deliver me to Spencer Lake. After I’d traveled for an hour up the small stream, the dense forest leaned in and threatened to swallow my narrow corridor. I had passed a spot where my map indicated there would be a bridge, yet I’d seen nothing there but woods. I worried that I had turned up a forgotten branch of the stream and would miss the lake and the rendezvous with my next paddling partner. Determined to arrive at the lake by evening and trusting my intuition to continue driving farther upstream, I leaned into the pole and thrust TINTIN up the rivulet, sliding past moss-covered banks. Eventually, the channel widened and I entered a pool where I was reassured by the sight of a fisherman on the far shore.
At dusk I portaged around the cracked timbers of a leaking dam into Spencer Lake. The black flies descended, and I couldn’t get TINTIN back into the water fast enough. I fled to the middle of the lake and only then did I have a moment to take in my surroundings. Ridgelines layered in mist ascending upward cupped the isolated lake. I could see a single lodge built into a nearby hill; the remainder of the tree-lined shore was uninhabited. A sandy spit sprinkled with polished stones arced into the lake. The sounds of TINTIN’s wake and the water dripping off my paddle blade mixed with the hum of distant peepers. On the spot, I promised myself that I would return.
The 5-mile portage to the Moose River was the longest of my entire route; it would take all day, packs first, then TINTIN. Fortunately, I had help. Jodi, the office manager at the base where I worked, had joined me. From the north end of Spencer Lake, we followed a logging road east, then north toward the Moose. Gear aside, the walking was easy. Slash-covered clearings occasionally marred the scraggly roadside forest. I’d been on my own for nearly three weeks. Starved for conversation, I launched into an episodic narrative. I babbled for over an hour before the first wave of embarrassment spread over me, but the urge to speak was uncontrollable. Normally, I was a sensitive conversationalist, but my weeks alone had changed me.
By day’s end, with the portage behind us, we camped above the Moose River. To celebrate, we built a campfire. In my effort to tread lightly on the land, this was only my second fire. My neck was stiff and my legs weak from the 15 miles of hauling.
Thwack!
I drove the axe into a piece of firewood. Previous campers had left several chunks of split wood. I was slimming a couple down to kindling size.
Jodi was stacking birch bark and twigs in the fire ring. I placed another piece on the splitting stump and raised the axe high.
Chink…thunk!! It was the wrong sound. The wood fell away. Then I shivered, as though I’d stepped from a sauna into the sub-zero air of winter. I felt the cool metal blade in my foot, but the sensation floated like it belonged to someone else. I released the axe handle, without looking down. I had been wearing sandals.
Jodi dashed toward me with huge eyes.
I dropped to the stump. My head hung low; I could smell the stench of armpit. Salty sweat trickled across my lips.
Jodi knelt beside me and I could feel her shaking hands against my leg.
“You’re okay. No blood. Damn it…what should I do?!” her voice quaked.
“Get the first-aid kit.”
Jodi dug through my pack. I lifted my foot and pulled the sandal off, investigating with my hands what my eyes would not.
Eventually, I gathered my courage and bandaged the wound. I went to bed determined to continue paddling the following morning, but my throbbing foot gnawed at my resolve. During the night, a lightning storm passed over us and filled the tent with steely-blue flashes of light and cracks of thunder. Rain pelted the fly. I imagined sitting in TINTIN for hours on end with an injured foot. I wanted to be courageous, but what I needed was a hospital. At daylight, Jodi ran back across the portage and retrieved her car.
By the end of the next day, following a rescue that brought Outward Bounders Tom and Dietter and their trucks to my aid, I was deposited with a stitched foot at my mother’s house, 100-plus miles to the south of the trail. Wilderness, water, and my adventure were gone, replaced with pavement, rows of homes, and the growling of a lawn mower.
My mother asked, “How soon can you get back out?”
I called my friend Tony, “What the hell are you doing home already?” he snapped.
I felt pushed and protested: Who says I have to go back?
Yet the trail had worked its way into me, and my friends and family saw the connection more clearly than I could. Then, after four days on the couch reading Against Straight Lines, Robert Perkins’s book about his canoe travels in Labrador, I couldn’t deny the tug of the trail. I longed for open water and to complete what I had started.
My mother drove me back north to meet up with Joc, my final paddling partner. I returned with a new pair of rubber boots, a hermetically sealed suture removal kit, and a dream that I would be able to keep my wound dry for the remaining 200 miles. The axe stayed home.
My first day back on the trail, Joc, an Outward Bound course director I’d met while working for the school in Florida, and I put in on the Moose River where I had left off the week before. Soon, we were crossing a series of remote ponds and muscling through tireless swells that licked at the gunwales. Twice, Joc’s long arms and stabilizing braces saved us from capsize. He cheered even as spray matted his blond hair, but I remained pensive, thinking about one of the rapids that lay ahead.
The Demo Bridge Rapid is a frothy Class III created by two slabs of bedrock that squeeze the river’s flow down a narrow chute 30’ long. While there are larger rapids along the trail, this was the most difficult I had contemplated paddling. The route through crosses the current far left before slipping between the slab shore and a chair-sized boulder. The rapid is made particularly gnarly by a river-wide ledge that lies just downstream of the chute.
Two years before, a brother-and-sister duo—the only other group to attempt a through-paddle of the NFCT at the time—ended their effort after a ledge on the Moose River swallowed one of their boats. I had only read about their misfortune, and assumed that the Demo Bridge Rapid was the one to derail their expedition. My Outward Bound training told me that paddling such a risky rapid during a long expedition, and in a wood-and-canvas canoe, made no sense. Yet on that day my competitive side won out.
TINTIN wobbled as Joc and I peeled out into the current. Despite having memorized the route, it’s hard for me to think straight once I’m on moving water. Amid the roiling mess, I caught a glimpse of the chair boulder.
“PADDLE!” I shouted.
The current flung us downriver.
“Damn it!” I yelled. We had to get the hell off the midstream conveyor belt. We lashed at the water and TINTIN jumped in response, enough to startle me, but where had our route gone? The slab shore loomed ahead. We were moving way too fast.
I caught sight of the chute and pried for all I was worth. Joc buried his blade into a cross draw, pulling, clawing toward the chute, and suddenly the bow snapped into the narrow opening like a compass needle finding north.
We’d done it!
We paddled across the northern bay of Moosehead Lake, the largest of Maine’s lakes, on the calmest of days. Legend about Moosehead’s oceanic potential seemed unfounded as the summer sun beat down on us. Then the West Branch of the Penobscot guided us without delay down its pine-lined corridor to the north end of Chesuncook Lake. The tucked-away Umbazooksus Stream was next, then it was on to Mud Pond. To my surprise, the murky depths along the infamous Mud Pond Carry didn’t breach my boot tops. Joc shouldered TINTIN most of the way so I could give my aching foot a break.
We crossed shallow Mud Pond and found a beaver dam clogging the outlet that connects the pond to the lakes of the Allagash Wilderness Waterway. We bounced off the stick dam, which held back a small pond that spread through the trees. Below the dam the stream had been reduced to a mere trickle that could hardly float a toy boat, let alone our heavily laden canoe. I quickly resigned myself to another portage, but Joc jumped onto the dam and started pulling out sticks, hurling them wildly through the air.
“What are you doing?” I asked, incredulously.
“I’m not doing another damn portage,” he huffed, bent over.
“You’re crazy. Get in the boat,” I chuckled.
He spent several minutes undeterred and engaged in a Herculean task. Finally, defeated, he slumped back into the canoe, and we retraced our strokes in search of the portage trail. Later I read in David Cook’s Indian Canoe Routes of Maine (republished in 2007 as Above the Gravel Bar:The Native Canoe Routes of Maine) that the practice of disassembling beaver dams for the benefit of canoe travel was more common then I suspected. Settlers made quick work of the dams with dynamite.
We paddled back-to-back 30-mile days on the Allagash River, turning an estimated nine days of travel into just seven.
When we hit the St. John River, the last of my worries evaporated as I realized that we could float the river while barely lifting a paddle and reach the end of the trail undeterred. A day later, on June 25th, Joc and I glided quietly down the wide and shallow St. John under cloudy skies as Fort Kent, and the end of the trail, took shape on the high southern shore. Green hills poked from the Canadian side.
We were hours ahead of schedule, and still my mother was there to cheer us ashore as we ground TINTIN into the sandy beach. The elation I expected at my finale was absent. I was exhausted. Joc cinched TINTIN to the truck’s roof rack as I piled our gear in the back. My mother slipped behind the wheel to begin her second five-hour drive of the day; I slumped in the back seat. Soon, the sounds of water rippling across rock and the wind whistling through the treetops were replaced by the hum of tires on pavement and the laughter of my mother and my friend. I drifted off to sleep.
Donnie Mullen is a writer and photographer who lives in Camden, Maine, with his wife Erin and their two children. For more information about his E.M. White canoe, see the sidebar in his article “Investing in Memories: Canoe Camping in Northern Maine,” in our September 2015 issue. He reviewed the Original Bug Shirt in our August 2015 issue.
Northern Forest Canoe Trail
In 2000, the Northern Forest Canoe Trail was transformed from an idea into a nonprofit organization. Since then, the NFCT staff has worked tirelessly and the changes they’ve made have been profound. When I paddled the trail, the route was determined by a set of maps drawn by hand by one of the original route researchers. Now, the NFCT boasts a series of 13 full-color detailed maps. In 2010, the NFCT published its official guidebook (I wrote the Maine portion), The Northern Forest Canoe Trail:The Official Guidebook.
In 15 years, the route has become markedly more paddler friendly in terms of access, portages, campsites, outhouses, and signage. In 2000, I found well appointed basic amenities in the Adirondacks at one end of the trail and in Maine at the other end, but nearly everywhere in between I had to rely on my own resources. Now you can travel virtually the entire 740 miles of the trail and have signs, portage trails, and campsites to make your adventure all the easier. The route itself has changed very little. However, when I paddled the trail, it offered the option to paddle through Vermont and Quebec via the Missisquoi River to the north or the Lamoille River I struggled with. The Missisquoi is now the official route. In New Hampshire, the route now bypasses a difficult stretch of water along the Phillips Brook, connecting the Upper Ammonoosuc and Androscoggin Rivers via a 3.8-mile portage along Route 110A.
Over 80 paddlers have through-paddled the trail—15 of them just last year. Prior to my trip, there was some doubt that the entire trail could be paddled in a single season attempt. Now that so many people have done just that it’s easy to brush aside the hardship of the voyage, but it takes a well-rounded paddler and outdoorsperson. As a paddler, you must be proficient in all aspects of water travel: upriver and down, flatwater, whitewater, and open water; portaging, poling, lining, and water rescue. Campcraft skills require backcountry cooking and hygiene, low-impact practices, and wilderness medicine. Outward Bound provided me with valuable training and for over half of my expedition I had the good fortune of traveling with individuals who had expertise that equaled or exceeded my own. That said, will and perseverance, more than strength and skill, allowed me to achieve my goal.
There can be a lot of scrambling around on a small boat, so it’s best to take the curse off the edges of all the bits of wood. The rounded corners will not only keep the your shins and knuckles intact, they will also hold on to varnish and paint longer. You could just take a quarter-round router bit to everything, but the softening of all the edges blurs the sweet, sweeping lines that make a wooden boat such a pleasant study. Putting a bead on an edge rounds the corner and adds a small groove that creates a crisp yet well-protected accent line. Risers, inwales, and outwales all have sweeping curves that carry this decorative element well. A slightly more intricate treatment for plank edges has a long history. Traditional Norse boats have at their planks’ edges a decorative molding that dates back over a 1,000 years. The tool used to cut the molding, a strek høvel (strake plane), is a U-shaped piece of iron with a wood handle spanning its ends. The cutting edge was at the center of the curve and appears to have done its work by scraping rather than shaving.
There are router bits that will machine simple beads and other patterns, but I prefer to do the job with a shop-made tool that lets me determine the shapes and placements of beads and the grooves. I use bits of hacksaw blade for a cutting edge. I cut the blades into shorter pieces with a cold chisel and an anvil. With just a light hammer tap on the chisel, the plain high-carbon blades will shoot pieces off. Bi-metal blades won’t break off quite so dramatically, but the crease the cold chisel makes will make the blade break when it’s bent. I do the contour shaping at a bench grinder at the corner of the wheel or with a Dremel tool and grinding-stone bits . The Dremel bit will create a burr that needs to be removed, either with careful work by the same bit or by working the flats of the blade on a sharpening stone.
I make the scraper bodies from scraps of hardwood: oak, ash, or maple. My latest holder is 4 1/2″ long and cut from a block about 2 3/8″ square. I first cut a 1 1/4″ right-angled notch along the full length of one edge. Then I drill two holes for a pair of 5″ carriage bolts. I use a long undersized bit on my drill press to get two parallel holes in the holder, then cut the holder in half. In one half I drill 1/4″ holes for a snug fit on head side of the bolts, and in the other half a 17/64″ hole for a slip-fit over the bolt threads. Assembled with washers and wing nuts, the holder is ready for the shaped hacksaw blade. Aided by the sides of the hacksaw teeth pressing into the holder, the wingnuts provide enough holding power. (With hex nuts and a wrench, it’s possible to apply enough pressure to split the wood.)
I start the cutting with firm lateral pressure, holding the holder tight against the edge of the workpiece, and very little downward pressure, pushing the cutter into the work. The single sharp point of a simple bead cutter is easily derailed by the grain of the wood, so a gentle, cautious start is best. The blade will be less apt to wander the deeper it goes.
More complex profiles are limited only by the shapes you can grind into the edge of a hacksaw blade. I did a simplified version of the molding on the planks of the Gokstad faering I built in 1986, and used my earliest profile scraper to cut a pair of lines at the edge of the plank first; then, with the blade moved, cut another pair above the space the rivet heads would occupy. The shapes you choose to cut will be limited only by what you can grind into a bit of hacksaw blade.
Christopher Cunningham is the editor of Small Boats Monthly.
You can share your tricks of the trade with other Small Boats Monthly readers by sending us an email.
I hated giving up on my Makita cordless drill after it had served me so well for over 25 years. I bought it in 1989 when I was doing exhibit installations in museums, and it quickly became the most frequently used tool in my home shop. I’ve used other cordless drills but always preferred the Makita because its batteries were housed in the grip, rather than in a clunky box clipped on the end. My trusty Makita was bright blue when I bought it; it’s now brown, covered with epoxy after countless boatbuilding projects. It never stopped working, but the batteries for it eventually became obsolete and too expensive to replace.
I was reluctant to put my trust in a new and different cordless drill, but I switched brands and bought a Milwaukee cordless 3/8″ M12 drill/driver (as a kit, Model 2407-22). The grip is ergonomically designed and as pleasant to hold as the beautifully sculpted handles on my ancient Disston handsaws. It wraps around the web between my thumb and index finger and fills the hollow of my palm. The forward-and-reverse switch is located right between thumb and forefinger and operable without shifting my hand. On the top of the M12 there’s a switch with two settings: 1 for high-torque and 2 for high-speed. The variable-speed trigger is quite sensitive, especially in the high-torque mode, so I can easily line up driver bits with the slots in screw heads; there’s a 20-step clutch that prevents tearing up screw heads and spinning screws in soft wood. The chuck is keyless and provides a tight non-slip grip even on round drill bits.
The Milwaukee’s 12-volt lithium-ion battery is so small that it extends just 1/2″ below my hand when it’s plugged into the grip. You’d hardly know it was there. In spite of its compact size, the battery has enough oomph to deliver 275 inch-pounds of torque, almost three times the 104 inch-pounds of my Makita. The M12 will push a 1 3/8″ Forstner bit through pine or a slightly dull 7/8″ Forstner through locust. It can also drive a 4″ exterior screw all the way into a 4×4 and bury its head without hesitation.
The battery is rated at 1.5 amp-hours, whatever that means. To put amp-hours into terms I could understand, I drilled some 3/8″ holes through 1 1/2″ Douglas-fir using the high-speed setting. I did 151 holes, one right after the other, before the fully charged battery pooped out. With the drill switched to high-torque and the drill’s second battery ready to go, I then drove a 1 5/8″ square-drive stainless-steel deck screw through a 2×4 and backed it out 143 times before that battery ran out. The charger included with the kit brought the batteries back up to full charge in less than 35 minutes, much less time than it takes me to deplete one in ordinary use.
The drill has some nice bells and whistles. There’s a built-in LED headlight to illuminate the work. The chuck casts a shadow, but any drill or driver bit longer than 2″ will have illumination at its tip. The light goes on when you pull the trigger partway, stays on while the drill is running, and turns itself off 10 seconds after the trigger is released. There’s an audible tone that sounds after the light goes on and just before the motor begins to turn, not a bad idea if you need to get a bit properly set in a straight-slotted, easily damaged brass screw before driving it. There are four red lights on the left side of the drill that indicate the level of charge remaining in the battery. And the drill is balanced so it will stand up on the flat end of the battery. While it’s not as steady as a cordless drill with its feet cemented into a bulky battery box, I thought it was a good indication that the Milwaukee designers thought of everything. The Milwaukee drill/driver’s light weight and compact size belie its power and endurance, and make it well suited to working in the narrow angles and tight spaces of small boats and to taking on bigger jobs around the house.
Milwaukee tools are widely available at hardware and home-improvement stores. The company web site provides a finder for stores and online vendors.
Christopher Cunningham is the editor of Small Boats Monthly.
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One of the things I learned from my long paddling and rowing trips was that the body adapts to the demands put upon it. Muscles get stronger, hands develop callouses, and heart and lungs get more efficient. The one thing that didn’t adapt was my butt. The farther I got into a 4 1/2-month paddle down the East Coast, the more padding I needed. I kept an eye out for new home construction along the Intracoastal Waterway and when I found job sites I went dumpster diving for scraps of foam carpet pad.
Skwoosh is a company dedicated to eliminating pains in the butt, and to that end developed TekPad gel. The gel contains tiny air-filled balloons and is sealed into flexible packs in a wide variety of seat pads including the AGP Row Pad and the Kayak Pad.
Rowing puts intermittent pressure on the tailbone and constant pressure on the ischial tuberosities or sitz bones. The tailbone is easily taken care of: Just cut away the portion of a seat pad that the tailbone touches. Skwoosh uses the packs of TekPad gel to ease the pressure on the sitz bones. The Master AGP Row Pad is 5/8″ thick and has two 4 1/4″ circular gel pads. If you squeeze the foam padding that surrounds the gel pads, it will push pack; squeeze the gel pads and it will yield. It feels a bit like squeezing a tube of toothpaste. While the gel provides some cushioning, it’s the way that it moves that makes the Row Pad effective.
Using my 14′ Whitehall as a test platform I’ve used the Row Pad on its own and along with a racing shell seat. Anything is better than sitting directly on the thwart. Without any paddling I feel the pressure of my sitz bones bearing against my gluteus maximus muscles and the skin over them. Just sitting on the thwart with my legs relaxed isn’t so bad, but rowing makes the pressure much more acute. At the catch I lean at my hips and, as I tilt my pelvis aft, my knees rise. The angle between my back and legs gets more acute, my glutes stretch and thin over my sitz bones and the pressure increases. Almost any padding helps, but foam tends to push back, so where the pressure is the highest, the foam exerts the most resistance. The gel moves away from the pressure points and, a bit like a waterbed, exerts the same amount of pressure wherever there’s contact. By itself, the Row Pad makes a big difference even though it is on 5/8″ thick. I can feel the gel moving back and forth as my sitzbones rock on it. It even pops, much like synovial fluid does when you crack your knuckles. The RowPad is meant to be used in conjunction with a racing shell seat and that’s a winning combination. I often use a racing shell seat when I’m rowing from a fixed thwart; its notch keeps the tailbone free of contact and its holes take some of the pressure off the sitz bones like a ring of moleskin does for a blister. But the rocking of the pelvis that occurs during the stroke kneads the glutes against the edges of the holes in the racing shell seat, particularly at the catch where the glutes are at their thinnest.
A Row Pad set on top of the racing shell seat gets the benefit of the seat’s sculpted shape. Cushioned by gel and cradled by contours, my butt feels like it’s all one unit, not made up of moving pieces wearing against one another. The combination would be quite well suited to the long haul in either a fixed-thwart or a sliding seat rowing boat.
The Kayak Pad is 5/8″ thick and has a non-skid bottom and a slick yellow top. Like the Row Pad, it is meant to be used in conjunction with a contoured seat. I’ve used the Kayak Pad aboard a Struer Freedom, a molded wooden kayak with a racing-style cockpit and seat. The seat has plenty of contour and I’ve never found it uncomfortable. It helps that paddling a kayak doesn’t set the pelvis rocking back and forth. The kayak stroke calls for torso rotation, and in a racing kayak the hips also rotate as the leg muscles are engaged to add their power.
I’ve been doing my paddling with the Kayak Pad in cold weather, and the first thing I’ve noticed is the warmth of the pad. The wetsuit pants that I wear don’t slip on either the varnished wooden seat or on me, so I feel some of the hip rotation happening between my sitz bones, glutes and skin. The pad’s slick fabric lets the neoprene pants slip easily, so there’s no friction to put my knickers in a twist either literally or metaphorically.
Christopher Cunningham is the editor of Small Boats Monthly
James Boyce has been a professor of biology at Coastal Carolina Community College in Jacksonville, North Carolina, for the past 42 years, but he grew up fishing and has kept at it his whole life. From the very start, boatbuilding has been intertwined with fishing. He was raised in Gastonia, North Carolina, and when he was in the seventh grade his family moved to a 130-acre farm that had a 6-acre farm pond. He and his father built two plywood 10′ rowboats for fishing. “For the next five years, while going to high school, I would come home in the afternoon and either go hunting, plinking with my .22 rifle, or get out the bamboo fly rods and go fishing for a few hours on the pond. One of the great pleasures was to catch a 3/4-lb bluegill on a light bamboo fly rod. What a fight!” James later built a vinyl-skinned kayak from a Folbot kit.
Married and with a young family of his own, he built a flat-bottomed Carolina skiff, a boat he used for years but never cared much for: “I finally sold it to a fisherman who used it for about another 10 years, and then I lost track of it.” In the past decade James built an Arch Davis Penobscot 14, a Simmons Sea Skiff, a strip kayak, and, along with a friend, a 21′ stitch-and-glue rowing shell.
The Jericho Bay Lobster Skiff is his most recent build. The 15′6″ skiff was originally designed by Joel White and named for a bay within sight of the WoodenBoat offices in Brooklin, Maine. Renowned peapod builder Jimmy Steele built two of the first boats, carvel-planked, cedar on oak. Tom Hill adapted the design for strip-building and detailed the construction in WoodenBoat (September/October and November/ December 2009).
James got Tom’s plans and set out to build his own version of the Jericho skiff in lapstrake plywood. The modifications he had to make to the hull shape were minor, and his skiff OSPREY is as true as possible to the original form as he could make it. That includes the slightly concave profile of the bottom aft of amidships. The unusual reverse curve there was drawn by White to serve the same purpose as trim-tabs do: bringing the bow down as the boat gets on a plane and holding it there while at speed. James used yellow pine for the keelson and red oak for the keel, knees, breasthook, seats, and console. He laminated ash for the stem and two layers of 3/4″ marine plywood with a 6mm layer of meranti plywood for the transom.
James confesses that he’s not much of a painter, but he did well with the finishwork on OSPREY. He took extra time and care sanding between coats of paint and on the advice from the folks at Interlux, used their 333 Brushing Liquid to keep the surface damp as he applied fresh coats of paint. “It came out looking almost as good as a spray job. I was very pleased.”
OSPREY is powered with an Evinrude E-TEC 30-hp outboard equipped with remote steering and electric trim and tilt. With the throttle wide open, the Evinrude gets OSPREY up to around 30 mph by James’s estimation—keeping the boat simple, he chose not to install a knotmeter. He reports “the ‘hogged’ bottom does a good job in getting the boat up on plane rapidly from the start. At top speed, however, with just me aboard, the boat has tendency to porpoise, so I use about 90 percent power to cruise. With another person in the boat, seated in front of the steering station, there is no porpoising. With a lighter 20-hp motor, that would also cease to be an issue.”
In a hard turn at 25 mph, OSPREY, he reports, “holds the water well and doesn’t side-slip.” The skiff takes on chop with aplomb. Being caught out on open water by a 20-mph northerly would have made for a wet ride in his other boats, but not in a Jericho skiff. “North Carolina rivers,” James notes, “are famous for getting into a hard chop quickly with this much wind.” OSPREY took on several miles of chop very well and stayed virtually dry even when taking a course at an angle to the wind.
Whenever James takes OSPREY out, it draws a once-over from almost every other boater who sees it and many ask where he got the boat. James gets the pleasure of replying: “I built it myself.”
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I met Dick Wagner in 1976. I was fresh out of college, living in Seattle, and boatless; Dick and his wife Colleen ran a boat livery out of their home on Lake Union. Their home is indeed on Lake Union: It’s a white clapboard-sided houseboat afloat on a raft of western red cedar logs. In their watery “back yard” they kept a half dozen or so rowing skiffs, mostly lapstrake White Bear skiffs. I rented one of the skiffs for an hour and took Mary Ann, my girlfriend then, out for a tour of the lake. When we returned, Dick was ready to help us in. I wanted to impress Mary Ann with my rowing skills and started sculling the boat sideways toward the dock where Dick was waiting. I knew how sculling was supposed to work, and had tried it on occasion, but I wasn’t very good at it. I wagged the starboard oar back and forth but that didn’t slide the skiff to port. I’d had my chance, blown it, but kept wagging. Dick rolled his eyes and said: “Hand me an oar.” I extended the port oar to him and he pulled us in. I came away from my first meeting with Dick with some important lessons: pride goeth before a fall; a waterman is businesslike, not frivolous; and if you’re going to show off, you have to be really good.
In the years that followed I practiced my sculling; the Wagners went on to much greater things and created the Center for Wooden Boats at the south end of Lake Union. Since its founding in 1977, the CWB has grown to become a priceless Seattle institution, keeping the history of wooden boats alive and introducing countless people to boating. Last Tuesday, Dick and Colleen broke ground to begin the construction of the Wagner Education Center. It will house a shop much larger than the Center’s current floating boatshop and provide space that can that can be adapted for use as a sail loft, classrooms, and exhibition galleries. If construction goes according to plan, the building will be finished and open this October. It will assure the continuing and growing interest in wooden boats for generations to come.
The education center will be a well-deserved tribute to the Wagners. Over the nearly four decades that have passed since I first met Dick, the Center for Wooden Boats has become an important part of my life. It lies literally in the shadow of the Space Needle, a Seattle landmark that I’ve visited only three times since it opened in 1962 along with the World’s Fair. In contrast, I visit the CWB dozens of times a year and I’ve never grown tired of it.
The Wagners still live in their houseboat on the north end of the lake and I pass by it every time I’m paddling or rowing to the Center, ever grateful for my friendship with Dick and for what he and Colleen have done for the wooden boat community.
We’re pleased to have you aboard Small Boats Monthly as we greet the New Year. This issue is number 17 and we’ve been pleased with the response to this recent addition to the line of WoodenBoat publications. Many of you have been surprised to learn that SBM is bicoastal. The crew at the WoodenBoat offices in Brooklin, Maine, is, of course, the driving force behind SBM; I live and work in Seattle, Washington.
While I was born on the West Coast, my connection with wooden boats has East Coast origins. My grandparents on my father’s side lived in Lowell, Massachusetts, and I spent many summers there and at Marblehead. Some of my earliest memories are of sailing outside of Marblehead Harbor aboard MOLLY MAY, my grandfather’s wooden cutter. Hanging above the mantle at the Lowell house was a painting of NEWSBOY, a brigantine built in 1854 at Owls Head, Maine, for my second great grandfather, Frederic Cunningham and my second great granduncle, Charles Dabney, Jr. Several wooden half-hulls of boats in the family also graced the living-room walls.
The home I was raised in is in Edmonds, Washington, and walking distance to the shores of Puget Sound. My father always had wooden boats and would often say about them: “Every aspect pleases.” He kept a 27′ Tumlaren sloop at the Edmonds marina, and the rest of his fleet—a Herreshoff Amphi-Craft, a skin-on-frame rowing wherry, a wood-framed Folbot, and several Pocock racing shells—was scattered around the yard, hung from rafters in the garage, and stuffed in the crawlspace under the house. I grew up earnestly believing that wooden boats were not only necessities in life but also good for the soul.
In this new column, “From the Editor,” I’ll be making notes about changes to SBM, new developments in the topics we’ve covered, events we’ll be attending, and other items that we hope to be of interest to you. If you’re reading Small Boats Monthly, you likely share an affection for wooden boats and we hope you’ll find food for the soul here.
Sam Devlin’s Cackler wears camo well, but if hunting’s not your thing, it can easily take on a different look and different duties: Its 14′4″ garvey hull and unobstructed cockpit are eminently adaptable. Sam recalls: “I did the original work on the Cackler design years ago—about 1984—and did the design as a combination shop skiff and hunting skiff. The evolution was directly from my other duck-boat designs, with higher freeboard but retaining the decking that gives the reserve buoyancy and seaworthiness. A garvey-type hull allowed easy walking off the front of the boat when beaching, and effectively gives a larger volume to the interior without additional and unusable length. With the first one built I knew, in my humble opinion, that I had a winner.”
The Cackler I spent some time with was built at Devlin Designing Boat Builders for one of Sam’s regular customers, John Heater, a 95-year-old Bainbridge Island, Washington, man who has owned four other Devlin boats ranging from a 9′6″ skiff to a 31′ cabin cruiser. “In his more than 25 years of owning Devlin boats, John’s boating needs have changed over the years,” writes Sam, “and with this latest build he really wanted a small and fast boat that would be seaworthy enough to keep him aboard in all kinds of weather and conditions and would allow him to explore the Puget Sound waters around his island home safely.” Meant to be seen and enjoyed rather than concealed in the marsh, John’s boat looks good in gleaming dress whites.
The Cackler, named after a species of goose with a distinctive call, has a simple garvey hull—two bottom panels, two side panels, and two transoms. Parts are CNC-cut from 1/2″ and 3/4″ BS1088 marine plywood, joined into full-length panels with interlocking puzzle joints, and assembled in the stitch-and-glue manner that Sam developed for all of the boats he has designed. The hull has a shallow-V bottom from bow transom all the way aft, and a pair of 1 1/2″ x 1 1/2″ bilge keels stiffen and protect it. A pair of wedges added at its trailing edge help keep the bow down when running at full speed.
There are three options for mounting the outboard motor: directly on the transom (the option offering the best speed), on the bulkhead at the forward end of the aft deck, or on a mount installed halfway in between. If there’s any fussing to do with the outboard, having it mounted in one of the forward positions provides a place to work on it without hanging out over the stern; according to Sam, this position also offers a profile less apt to make waterfowl nervous—especially late in the hunting season. The boat shown here was built to have the motor mounted in the middle. The arrangement provides a compartment between the mount and the bulkhead for a battery to power the electric starter.
Under the decks in the aft corners are two compartments designed to take a pair of 6-gallon fuel tanks. Aft of those compartments are enclosed buoyancy chambers accessible through watertight deck plates mounted on the vertical bulkhead at their forward ends; inside each flotation chamber are two or more Type II personal flotation devices (PFDs). They’re strapped up against the deck, keeping them from sitting in any water that might find its way into the compartment. The PFDs provide readily available and inexpensive closed-cell foam to meet a Coast Guard requirement for positive flotation. Sam had tried other types of foam in the compartments—two-part pour-in foam and blocks of solid foam—but neither would survive an accidental exposure to gasoline. There’s a third buoyancy chamber under the foredeck that contains another four PFDs. A storage area aft of that chamber occupies the remaining space under the deck.
The plans call for six 2″ x 3″ hardwood bollards set around the cockpit coaming, a versatile arrangement for a workboat, but John’s Cackler has a full complement of stainless-steel deck hardware, including a single stout bitt bolted through the foredeck and into a broad carlin and a wooden backing plate.
The 8′-long cockpit sole is unobstructed. Limber holes forward and aft keep the water from accumulating and let it flow aft to a splashwell just forward of the motor mount. The water can be pumped out while the boat is afloat or drained when it is hauled out and the transom stopper pulled. The coaming is a couple of inches wide and can serve as a perch for the helmsman, though John, understandably, likes the comfort of a padded folding chair. In 2015 he asked Sam to rig his Cackler for wheel steering. “He loves the change;” Sam writes, “he doesn’t have to sit sideways to run a tiller and he can more easily keep his eyes on the waters ahead.”
John’s Cackler has a bright white Awlgrip finish that’s so smooth and glossy it would be easy to think the boat was built of fiberglass and gelcoat, popped out of a production mold, and buffed to a high shine. Along with the sparkling hardware, it’s a far cry from the olive-drab and camouflage paint jobs the hunting versions get.
A 25-hp, four-stroke Yamaha provides the power for John’s boat; the Cackler will take up to 35 hp. The recess in the stern limits the turning range for the motor, but probably only a hair more than the 35-degree swing to either side that’s built into the motor. I wouldn’t expect better maneuverability: At low speeds with the tiller hard over, the Cackler did 360s within a boat-length radius. With a quick twist of the throttle to full power, the boat gets up on plane in 3.5 seconds. Push-button trim on the outboard adjusts the attitude of the boat for optimum speed. With just me aboard, I peaked at 22.2 knots. In turns, the boat banks without surprises, and I never felt that the hull was moving out from under me. The wide bottom offers a feeling of stability at speed and at rest.
When I cut the throttle suddenly and coasted to a stop, the wake would catch up and nudge the stern, but none of the slop washed aboard. I found backing a bit tricky. The shallow-V underbody doesn’t offer much resistance to lateral movement and once the bow gains some sideways momentum, it keeps drifting. Putting the tiller hard over to counter that only makes the boat sideslip. With more weight forward, the bow would have more water to reduce the lateral drift, and with more practice I’d learn to steer with a bit more finesse, avoiding the oversteering that’s likely the source of the problem.
You can order a Cackler with a host of options for hunting: a camo cockpit and engine cover, layout boards to give a hunter a comfortable seating position with a low profile, brackets for a cockpit blind, and a grassing skirt system to conceal the hull behind a fringe made of baling twine. If you opt to build a Cackler from a kit, you’ll get plans, instructions, and a 4′ x 8′ pallet with all of the plywood parts for the boat and for a building frame. Everything is accurately cut with a CNC machine, assuring that the boat goes together in proper alignment. Fiberglass, epoxy, and dimensional lumber can be purchased separately from Devlin Designing Boat Builders or from local sources.
If you’d like a larger version of the design, Cackler has big-sister designs: the 16′ Snow Goose and the 18′ Honker. You can ease into building a Cackler by reading Sam’s book, Devlin’s Boat Building: How to Build Any Boat the Stitch-and-Glue Way, and by ordering a 1/4-scale model kit. It has all of the same plywood parts as the real thing.
If you won’t be going hunting with a cockpit crowded with hunters, dogs, and decoys, you can use a Cackler for lake fishing, salvaging driftwood logs, or even taking the kids water-skiing. You’ll have little trouble adding to the list.
Christopher Cunningham is the editor of Small Boats Monthly.
The Adirondack guideboat traces its lineage back to the 1840s and the water-rich, road-poor Adirondack region of upstate New York. The myriad lakes, streams, and rivers there required slim, shallow-draft boats that were fast, performed well in a wide range of wind and wave conditions, and were capable of carrying up to three people and their gear. They also had to be light enough for one man to portage. It was a tall order.
A number of builders created boats to meet the region’s needs, and a recognizable type developed. Double-ended with a strong sheer, it resembled a Native American canoe in profile. The guideboats were, on average, 16′ in length with a beam of 38″ and weighed 60 lbs. They were constructed with a plank keel—referred to as a bottom board—and closely spaced ribs sawn from spruce knees. Thin spruce or cedar planking was attached to the ribs with screws. The oars used with the boats were light with some flex, overlapping grips, and distinctive fixed-pin oarlocks.
When Steve Kaulback, a self-styled “refugee” from New York City, built his first Adirondack guideboat in 1979, he wasn’t presuming to create a design that would eventually become one of the flagships of a guideboat revival; he just wanted to build a truly beautiful boat for himself. He had moved to Vermont in 1973, armed with little more than a Bachelor of Fine Arts degree from the Pratt Institute, and had no background in boating, much less boatbuilding. His older brother, Peter, had seen guideboats in Vermont and told Steve it was imperative to check them out if he ever got the chance. His chance came in the form of a vintage guideboat built by Warren Cole at Long Lake, New York, in the early 1900s. Not only did he get to see it, he got to row it. It was a life-changing experience. “It was the most incredibly beautiful thing I’d seen,” Steve said, “a perfect example of form following function. I knew I simply had to build a guideboat of my own.”
Plans were not available then as they are now. Atwood Manley’s Rushton and His Times in American Canoeing included the lines and offsets for Rushton’s Saranac Lake guideboat. Steve built a nicely crafted wood-strip version, and it was closely followed by a second. While generally pleased, he found the Saranac Laker had two drawbacks: Its narrow bottom-board rendered it too tender, and the straight keel made turning arduous. Examining John Gardner’s lines of Dwight Grant’s VIRGINIA, published in 1980 in Helen and Kenneth Durant’s The Adirondack Guide-Boat (and later in Building an Adirondack Guideboat by M. Olivette and J. Michne), he deduced that VIRGINIA’s wider bottom-board (slightly over 8” amidships) and hollowed deadrise in the garboards and broad strakes would offer better stability. Its rockered keel would have better maneuverability. Steve’s third guideboat incorporated these features and while its stability was indeed much better, turning was only marginally easier. In his fourth boat, Steve increased the rocker to about 1 1/2″, and that became the standard for his later guideboats.
Steve proceeded to build guideboats to order, and, with only a few minor alterations, this is the wooden boat still built today by the business he founded, the Adirondack Guideboat Company (AGC). Brothers Justin and Ian Martin now own the company and build guideboats in the traditional style as well as in a Kevlar composite. If you’d like to build your own, AGC offers kits for boats with lengths from 13′ to 19′.
The construction of AGC’s boats closely mirrors how guideboats were built in the latter 19th and early 20th centuries; early builders Warren Cole and Dwight Grant would need little explanation for what they would see. The woods used are the same as for the originals—spruce for the stems and frames, pine for the bottom board, and cedar for the planking. The stems and frames are now laminated spruce, not natural crooks. The planking is still 5/16″ cedar, but cut into uniform 1″ strips, not shaped strakes ranging from 2 1/2″ to 4″ in width. The bottom board remains 3/4″ pine.
The shape of the guideboat, then and now, is established not by molds, but by attaching the stems and frames to the bottom board with brass screws. Most of the frames in the AGC boats are continuous from gunwale to gunwale; only the last frame at each end is in halves lapped across the bottom. The traditional frame spacing was 4″ to 6″—the maximum distance the strength of the natural crooks would allow. The laminated frames are much stiffer and stronger and are set 11 1/4″ apart. A 15-footer can be built with 13 laminated frames as opposed to 26 pairs of lapped sawn frames. This saves time, material, and weight.
The original boats were a variation on lapstrake planking. The overlapping strake edges were beveled to bring the planks flush with each other. The absence of external laps reduced the weight of the completed boat, and the smooth exterior slid through the water much more quietly. This stealthy quality was highly valued by sportsmen after the more elusive species of fish and game.
Strip-built boats produce smooth hulls whether the strips are sawn with square edges or milled with mating beads and coves. At AGC the strips are cut with parallel beveled edges. As each strip is applied to the frames, its gunwale-side edge tucks under and locks against the edge of the previously installed strip, providing a tight fit and a fair hull. The edges of the strips are given a coat of thickened epoxy just before installation; small, specially designed brass screws hold each strip to the frames and stems. True to traditional construction, AGC’s strips terminate in rabbets cut into the stems rather than running past an inner stem, to be trimmed and then capped with an outer stem.
The hull is thoroughly sanded smooth inside and out. The interior is treated with four coats of epoxy followed by four coats of varnish. The exterior gets a layer of 4-oz fiberglass and epoxy. After the weave is filled with three more coats of epoxy, the hull is sanded smooth and finished with three coats of varnish or an application of high-quality marine paint.
The AGC boats met and exceeded my expectations of a guideboat. They handle a variety of loads well and safely under a range of conditions—dead calm up to truly challenging. I’ve rowed several of AGC’s guideboats, both cedar and Kevlar, and am most familiar with the 15′ version.
Throughout the history of guideboats, people have described them as “cranky.” The boats feel tender and present some challenges in adapting to a style of rowing unfamiliar to most. I won’t contest this—that was my initial impression, too. Trusting that patience is a virtue often rewarded, I elected to stay the course and let the boat teach me rather than trying to master it based on my experiences with other, very different small rowing craft. I’m glad I did.
Guideboats have two rowing stations but are intended to be rowed by only one person. The amidships station is used for rowing solo or with two passengers and a goodly load of cargo. The passengers sit in the bow and stern seats, and duffel, evenly divided, is stowed in the bottom at their feet. The forward rowing station is for carrying a single passenger seated in the stern. If duffel is carried, it’s stowed between oarsman and passenger.
Traditional guideboat oars are used in locks with fixed pins through the loom. The oars are non-feathering, and the length of the loom inboard dictates that the grips overlap each other. This requires the oarsman to row with one hand held forward of the other and the after hand held a bit higher. This takes some getting used to but provides exceptional control of the boat once mastered. The oars I used were 8′long, flat-bladed, with about 8″ overlap.
All of my experiences of getting aboard guideboats have been from docks. I rapidly learned to place my weight squarely in the center when getting in and gain my seat as smoothly and quickly as possible. Once centered in the boat and with oars in hand, I immediately sensed the boat settling in the water, and the tenderness I felt getting aboard diminished. Getting underway is best accomplished with short, smooth, even strokes. Once the boat was moving I never felt any lack of control.
My rowing with a load aboard has been limited to a single passenger weighing about 150 lbs and just a few pounds of duffel. The main challenge was encouraging the passenger to get used to the motion of the boat and sit still; that would relieve me of having to adjust my own balance and stroke style every time a nervous passenger squirmed to a different position.
My excursions have been in conditions ranging from calm to swells and up to a sharp chop with wind and some confusion between tidal currents and powerboat wakes. The guideboat’s stability in uneven water was excellent, and its response to my strokes crisp. I easily maintained headway and heading.
My shortest excursions, both solo and with a passenger, were about an hour. One 2 1/2-hour outing included a passenger. My longest “voyage” was more than 4 hours long with one coffee break; I averaged just over 4 knots.
I can hardly claim to have “wrung the boat out to its max.” Far from it. But the AGC boats have given me a sound basis from which to appreciate this design’s potential and to find credible the many reports of stellar performance under extreme circumstances and a rather incredible number of wins AGC boats have racked up in many competitive venues. This design is a real winner, as enchanting to look at as it is to row.
Rodger Swanson was introduced to traditional rowing 45 years ago and has never looked back. He owns the Swanson Boat Company in Windsor, Connecticut, a small business devoted to boatbuilding and rowing accessories. His company is the sole remaining marine tallow producer in North America.
Particulars Length: 15′
Beam: 40 1⁄2″
Stem height: 24″
Depth at center: 12″
Capacity: up to 550 lbs
Weight: 70 lbs
The Adirondack Guideboat Company offers finished boats from 13′ (53 lbs) to 19′ (88 lbs) in 1′ increments for $14,960–$18,040. (Dimensions above vary depending upon boat length.)
The AGC cedar guideboat kit provides all of the wood and metal parts needed to build the boat: pine bottom board, cut and beveled cedar planking, spruce stems, laminated spruce ribs, cherry seats, gunwales, floorboards and decks, brass rowlocks, oarlocks, brass stem bands, and soft maple oar blanks. In lengths from 13′ to 19′, priced at $3,800–$5,100.
Is there a boat you’d like to know more about? Have you built one that you think other Small Boats Monthly readers would enjoy? Please email us!
The boat ramp in Arcadia, Washington, lies at the end of a quiet road where a handful of modest houses nestle among cedar, fir, and alder trees. I stood on the ramp’s sloping cement with my 15-year-old son, Merry, looking out at this southern edge of the Salish Sea. To the east lay Hope and Squaxin, two tree-clad islands scarcely more than a half mile from the Arcadia shore, with the snow-topped peak of Mount Rainier hovering above them in the distance.
We had left our Portland, Oregon, home the day before, driving 100 miles north to this hamlet, the launch point for a three-day camp-cruising expedition with our friends Andy and Tim. Our plan was to explore Hope, Squaxin, and Anderson islands, camping at sites along the Cascadia Marine Trail, a network of access points for non-motorized small craft. I’ve sailed and paddled this region many times, yet I’ve seen only a fraction of its many nooks and crannies, so each trip is a chance to see something new.
Merry and I were first at the ramp with ROW BIRD, our 18′ Iain Oughtred Arctic Tern. Soon after, Andy arrived with his 17′ Antonio Dias–designed Harrier, WILBUR LARCH, but by one o’clock, Tim had still not appeared. Figuring that he’d catch up with us at our campsite, Andy, Merry, and I loaded the boats and launched. We were bound for nearby Hope Island State Park, but we began with a side trip into Totten Inlet, which transitions along its winding 9-mile length from a shore crowded with homes to a quiet, muddy backwater. I was pleased when Andy invited Merry aboard WILBUR LARCH. My son would get the opportunity to take the helm of a new boat and to learn the finer points of sailing from someone other than his dad.
When we started out from Arcadia, the wind was a relaxing wisp, barely requiring a hand on the tiller, but over the next hour it rose, and ROW BIRD’s speed increased from quick to heart-pumping. Bouncing through chop, pushed on by a few big puffs, I tightened my grip on the mainsheet. It was satisfying to watch the concentration on Merry’s face as he adjusted WILBUR LARCH’s course and sail trim to accommodate the changing conditions.
As the sun started getting low in the sky, we headed for our campsite. The many headlands and inlets here disperse breezes, contributing to the area’s reputation for fluky conditions and extended periods of calm. Aware that the breeze might die at any moment, I savored a few long tacks before heading in. Andy and Merry rowed directly for shore though, and when I finally arrived at the island, they were already setting an anchor for the night.
We lugged our gear into the dense evergreen woods, where we found the campground deserted. There were picnic tables at the campsites, but when we returned to the beach, the view of the clouds, now glowing pink with the setting sun, was so striking that we decided to cook dinner right there. Just as we were savoring our last bites, a sailing dinghy came zipping near the shore. Merry was the first to recognize its sole occupant: “It’s Tim!”
Tim dropped sail as he drove his 13′ Sparkman & Stephens Blue Jay up to the beach and stepped confidently ashore in street shoes. The rest of us, in our knee-high rubber boots, were impressed by his insouciance. I wondered how Tim’s lightly built racing vessel would fare as we got into more exposed waters, tidal currents, and areas of heavier air.
The next morning Andy and I stood on the shore, mesmerized by the reflection of the dawn sky in the dark blue waters between Squaxin and Hope islands. For a dream-like moment it seemed as though the sea and sky were one; that speaking a single word might make the whole scene disintegrate. And where was my teenager during this ethereal moment? Asleep in his tent, lost to the magical world around him.
The offer of a hot breakfast got Merry out of his sleeping bag, and yet sleep still clung to his eyes 45 minutes later, when we were all finally loaded and ready to go. The water was smooth and glassy as we pulled away from the shore; it looked like it was going to be a slow, 10-mile row to Anderson Island, our destination for the night. I watched Merry relax in the stern, then sit up, his attention attracted by a seal that was following us. It was clear to me that, despite his reluctance to rise this morning, my son was happy to be here on the water with me.
You can’t make someone else love boating, even if you really want to, and I’ve been careful not to force it upon my boys. Years ago, many an afternoon on the water was cut short when our sailboat heeled over, alarming a then much younger Merry, who would scream, “We’re going to die!” What I considered fun knot-tying exercises at home were greeted with groans of boredom from him and his brother. But while my younger son has never cared much for the water, Merry gradually lost his fear of boats and developed a spark of interest, one I’ve tended carefully.
We do most of our boating close to home, on the Willamette and Columbia rivers; but over the years, I talked up the allure of saltwater sailing, imbuing it with a sense of mystery and magic, describing to Merry the fascinating creatures, challenging conditions, and delicious food I encountered on my trips. Eventually, it worked, and three years ago, he decided to join me and some friends on an annual pilgrimage to the Salish Sea, which spans the inland waterways of Washington State and British Columbia. Each spring since then, Merry and I have found ourselves a quiet place to sail, row, and camp. We enjoy each other’s company on these expeditions, and I always hope he’ll learn something too. Still, I try not to be didactic. The experience of cruising—traveling with other boats, sorting out tides and weather, and outfitting the boat—is enough to impart the lessons of sea lore and to foster what I hope will be a lifelong love of boats.
As I rowed, I scanned the water ahead for signs of currents. One crossed our course, and pulled us toward a mooring buoy. Merry watched the current swirl around it, a sure sign that, despite the seemingly still conditions, a lot of water was on the move.
The wind was so variable that we found ourselves frequently switching between sailing and rowing. Although we weren’t racing, Merry and I watched our companions’ choice of sail or oars closely.
During a lull in the wind, Merry and I skimmed along under oars in the clear, still waters near shore, looking for marine life. We spotted moon snails as big as grapefruit, golden sea stars, and plumose anemones with their feathery tentacles. Our best sighting was a hefty maroon rock crab scuttling through clumps of seaweed. Its stout claws looked large enough to make a tasty meal. Merry has always loved looking for wildlife, and even at the age of 15 he maintains the endearing belief that he’ll be able to snag dinner with a long stick. As in past years, he tried and failed to even touch the crab, let alone capture it, but that didn’t diminish the fun of the hunt for either of us.
The weather radio had forecast 5 to 10 knots of wind from the north, but the warm air was mostly still. In his light, simple boat and with his experience racing his sailing skiff, Tim was our pacesetter. Andy’s boat was lighter and sleeker than ours, and he frequently took the middle position. Despite the weak winds, conversation on our boat was cheerful. With 4 miles to go until we reached Anderson Island and a good six hours of daylight remaining, there was no reason to rush. Merry and I set out nuts, fruit, and sandwich fixings on the side benches and prepared to nosh. “This,” I said, basking in the sun, “is what a cruise is all about.”
As we ghosted along I persuaded Tim to come aboard ROW BIRD to fix a persistent crease in my balanced lug mainsail. Merry boarded the Blue Jay. While I leaned lazily against the mizzenmast, Tim lay on the foredeck, adjusting the downhaul, outhaul, and lashings on the tack. Tinkering is what he likes best about sailing.
Merry, at the Blue Jay’s helm, beamed like a teen given the keys to a new car. Oblivious to the peeling paint and the water sloshing beneath the floorboards, he kept a grip on the tiller and tugged on the mainsheet, excited to chart his own course. Tim and I kept an eye on him, occasionally offering sailing advice, and contentedly cruised along, if slowly, toward our destination. Halfway to Anderson Island, the wind ceased, and brought an end to our sail tuning. We’d need a more serious breeze to determine whether Tim’s doctoring had made a difference.
I’d installed an extra oarlock on the aft, port side of ROW BIRD to use with an oar for a makeshift rudder or to use for sculling. I’d never been able to scull effectively, so I asked Tim to demonstrate.
He set an oar in the oarlock, and began making a graceful swaying, figure-eight motion. ROW BIRD slipped forward at about a knot and a half, and we left Merry behind. He was in no danger, but I felt a slight pang at watching my son recede into the distance. So we looped back; I grabbed the Blue Jay’s painter and took Merry in tow as Tim sculled. All was well until the blade of the oar broke off at the throat.
We were a mile from shore, with no wind. We could scull with the other oar to Anderson Island, but I worried about making tomorrow’s 10-mile trip back to the launch ramp with a single oar. Smiling, Tim hopped into his boat and pulled out a pair of clunky 9′ oars. He handed them to me and took back his painter. They were heavy ash workboat oars, but I was glad to have them.
“But how will you get to shore?” I asked.
Tim laughed and pulled out a paddle. Sitting atop the rail, he began to propel the boat forward while Merry handled the sail and rudder. My son grinned, clearly soaking up Tim’s make-do attitude and paddling skills. The Blue Jay was now moving through the water almost as swiftly as I was able to row ROW BIRD.
An hour later, we reached the shallow cove at the nature preserve where we intended to camp. Andy had arrived before us and was relaxing at anchor aboard WILBUR LARCH, a book in hand. Surprised that he hadn’t pulled ashore yet, we soon realized that he was waiting for the flood tide to rise enough to allow us to set our boats above a line of barnacle-covered cobbles.
Merry and I looked for a clear patch of sand in which to drop our anchor, and we noticed that the bottom had a lumpy, purplish covering. Rowing into shallower water, we were amazed to discover that the odd-looking mass was composed of thousands of sand dollars. We had seen their bleached skeletons before, but were never lucky enough to see them alive with their velvety covering of tiny lavender spines.
We set our anchors and ran stern lines to the land so the boats would stay perpendicular to the shore, facing into any waves that might arrive. We checked the tide tables and positioned the boats so that they could be on the hard during the evening’s low tide, but would float again with the morning high tide.
After setting up camp, I drew in my sketchbook, Merry scavenged for kindling and prepared a bonfire, and Tim and Andy went for hike.
When we reconvened at our campsite late in the day, a rich, musty smell blew off the salt marsh behind us; stands of rusty red madrone and ancient Douglas-fir loomed over the hillside beyond. We sat by the fire, talking well into the night.
We woke the next morning to clear skies and still air. After breakfast, we broke camp and packed the boats. Our best bet for a speedy return to Arcadia was to use eddies and tidal currents, search for pockets of breeze, and row—a lot. All morning, Merry and I traded off the oars and watched harbor porpoises and seals come and go. We talked about tide charts and how to read them, life at home, and the Maine peapod Merry was planning to buy. There was none of the teenage arguing and eye-rolling I’d become accustomed to at home. On the water, we simply enjoyed hanging out.
With about a mile to go, Merry noticed a patch of water darken some distance astern of us. He let the oars sit still in the oarlocks and watched the textured pattern, aware that it would bring an end to rowing. As it drew near, he enthusiastically grabbed the tiller while I hoisted the mainsail. A minute or two passed and then our sail bellied out and we were soon coasting along Hope Island, relishing the lightness and speed of the boat’s motion without our labor at the oars. Sunlight glinted off the water. The Salish Sea was empty of any craft but ours. We were homeward bound, but in a few weeks Merry would be launching his peapod. Next year, I was confident there would be one more sail in our fleet.
Bruce Bateau sails and rows traditional boats with a modern twist in Portland, Oregon. His stories and adventures can be found at his web site, Terrapin Tales.
If you have an interesting story to tell about your adventures with a small wooden boat, please email us a brief outline and a few photos.
Sailors want wind; rowers don’t. Rough water can be a challenge to a rower’s skills, but I’ve found a few techniques that can help you reach a safe haven when conditions on the water take a turn for the worse.
I had the first difficult row of my wilderness-rowing career 10 years ago in Wright Sound, British Columbia. I was into the third week of rowing my 20′ dory from Ketchikan, Alaska, to Bellingham, Washington, a distance just shy of 800 miles. Halfway across the entrance to McKay Reach I encountered swirling gale-force winds and waves coming at me from all directions. As my fear increased, my grip on the oars grew tighter. I was tiring quickly and my hands, forearms, and back ached. I knew that if I didn’t regain my composure and relax, fatigue would add exponentially to the danger I was in. To reach the safety of even the nearest lee I would have to conserve energy. I kept pulling and calmed myself. I loosened my grip and soon felt my body begin to relax. As my spine became less stiff, my hips could adjust to the wild gyrations of the hull. My head no longer swayed with every wave, and my growing dizziness subsided. My blades stopped getting slapped skyward off the tops of waves, and my tendency to “catch a crab” disappeared. I could feel the water on each blade and adjust more quickly to the waves’ erratic shapes.
Shorten Your Stroke In difficult seas you have control of the boat only when the blades of your oars are in the water. Many rowers believe, erroneously, that long, powerful strokes will get them through a clutch situation, but in a long pull, the blades are most effective in moving the boat forward through the middle 45 degrees of the blade’s arc. At the beginning and end of that arc they exert about as much outward or inward pressure as propulsive power. Long strokes also lengthen the time your blades are out of the water during the recovery and, if your boat is rocking, will have the oar handles flailing up and down during the pull. Shorten your stroke by a quarter to a half.
Relax As the wind gets stronger and waves bigger, it’s natural to grip the oars more firmly, but tightness in your hands will have a domino effect of tension through your entire body; you’ll lose the ability to accommodate your pull to the changing contours of the waves. Relax. If your hands are resting lightly on the oar handles, most oars are balanced well enough for the blades, when squared, to find their perfect level just below the water’s surface. Gripping the oars for dear life stiffens your arms and will result in missed catches and washed-out finishes.
During the recovery phase of the stroke, a tight grip will likely force the blades to plow into waves. The handles, driven both downward and forward can knock you off balance or even shove you off your seat. Feather your blades: If you clip the top of a wave, the blade will skip over it.
During the drive phase, a perceived need to exert extra effort and control may compel you to dig the blades too deep. The lower the blades dive, the higher your arms and hands go, reducing the power you can apply, the effectiveness of the oar’s arc, and the ease with which you can release the blades at the end of the stroke.
If you concentrate on softening your grip, you will find that you will calm the rest of your body. Stay balanced and relaxed, and let the boat do its wild hokey-pokey beneath you; you’ll find that the water isn’t quite as rough as you thought.
Cross the Trough Rowing with the wind and waves on the beam will tire you quickly, and having one oar blade sky and the other submerge is a sure way to lose your temper. Waves cresting against your flanks also increase the possibility of swamping. If the course to your nearest safe haven is across the wind, quarter your boat into the wind and waves. Not only will this counter the usual downwind set, it will also diminish your boat’s rolling and allow your oars to remain more balanced in relation to each other. If you work your way well upwind of your mark, turn to take the waves on the stern quarter. A zigzag course will avoid settling into the trough.
Avoidance The best approach to rowing in uncomfortably rough water is, of course, not to, so listen to the marine forecasts. Meteorology is not an exact science: Allow for errors in the forecast and give yourself escape routes. Along inland waterways even accurate forecasts tell you only what’s going on in the big picture. You need to know how topography affects local winds and waves. Look in all directions for the telltales of wind in the sky and on the water’s surface. Under oars you’re aboard one of the least powerful vessels on the water, so noticing and understanding a catspaw or a sawtoothed horizon is critical. Pay attention, be flexible in your plans, and keep a relaxed hand on your oars.
Dale McKinnon began rowing in 2002 at the age of 57 and in 2004 rowed solo from Ketchikan, Alaska, to Bellingham, Washington. In 2005 she rowed from Ketchikan to Juneau. The Salish Sea of Washington and British Columbia is her playground. She lives in Bellingham near her grandkids, with her partner Berns, and a chocolate Lab Thea, and builds Sam Devlin-designed Oarlings for other rowers.
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To get the two heaviest boats in my family’s fleet to the water, I have to back the car up to bring the trailer ball perfectly under the hitch. There’s too much tongue weight for me to lift, and the trailers are parked on a bit of a slope with the wheels chocked. Having someone guide me is often frustrating for both of us. Instructions get lost in translation and nerves get a little frayed before we even get to the launch ramp. Doing the job solo is next to impossible without some way of bringing the ball and hitch into alignment. I tried a device made of magnets, telescoping rods, and yellow balls, but it never lived up to its promise. A mirror I mounted to a suction cup did pretty well, but I had to be pretty much right on target to get the reflection of the hitch to appear.
The iBall is the best system I’ve used yet. It’s a video camera with a magnetic mount and a 3.5″ color LCD screen that plugs into a cigarette-lighter socket. The wireless connection between the two opens up a lot of useful possibilities. The usual routine is to attach the camera to a metal surface at the back of my car or pickup. The camera gets angled to put the ball at the bottom of the image. I can see the monitor through the back window, so it’s easy to get the correct angle. That’s all there is to it. I back up looking over my shoulder to get centered on the trailer, and then for the last couple of feet I watch the color monitor. The trailer tongue comes into view on the screen when I’m about 3′ out, and I can make all the necessary corrections as I close the distance and stop with the hitch perfectly centered over the ball.
That takes care of getting hitched up. Coming back home I have to back the trailer into a spot not much wider than a parking lot space and stop a slim 3″ shy of a downspout on the corner of the house. (I actually have a bit more leeway now that I’ve crushed the downspout nearly flat, in spite of the chocks I’ve placed to stop the trailer on its marks.) Setting the camera aimed at the gap from the side gives me the extra eye I need to do the job solo. A switch on the monitor flips the image vertically and horizontally to suit the camera orientation and a preference for true or mirror image.
The monitor will pick up the signal from the camera in the neighborhood of 300′ (far better than the 100′ specified by the manufacturer) and the image is visible even at night with just the illumination of streetlights; in dim lighting the image is mostly black-and-white. The image can sometimes be a bit grainy and flicker—interference from other radio waves or electromagnetic fields, I suspect—but it’s clear enough for me to get the job done.
I’ve found the system useful for other tasks. When I want to check the trailer lights, all I have to do is set the camera on the pavement about 8′ behind the trailer. For chores around the house, I’ve wired a 12-volt battery to a cigarette-lighter socket (a 12-volt DC transformer would work as well) to provide the monitor with power. I recently used the iBall to figure out which breaker I needed to turn off to replace a switch to a ceiling light. Transmission through walls and floors provided a grainy but usable image. I also used the iBall to keep an eye on the front door from my basement office, waiting the better part of the day for a package to arrive. The camera’s battery lasted a bit over 10 hours before it needed to be charged overnight with the included USB cord.
The iBall is a nifty and useful gadget. It gets my boating outings with companions off on the right foot, and it will allow me to do something I’ve never been able to do before: take one of the big boats out by myself at dusk for an evening on the lake.
Christopher Cunningham is the editor of Small Boats Monthly and the owner of three boat trailers and one homebuilt teardrop trailer.
The iBall system is available direct from the maker, Outdoors Insight, with a one-year warranty, for $169.
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I like “big-screen” navigation, and in a small boat the only way I can do it is to use an old-fashioned paper chart. My handheld GPS often sits idle. While it’s great for detail, it’s hard to read in sun and needs seconds, even minutes to give me big-picture information. The challenge for chart users on little boats is determining one’s position or calculating course and distance to a spot, a “waypoint” in today’s language. The usual navigational aids—parallel rulers and large rigid-armed protractors—need a big flat place, out of the wind and spray. They don’t work on kayak decks, rowboat thwarts, or cockpit seats.
Chuck Sutherland, a serious paddler and scientist, solved the problem decades ago with his Small Craft Nav-Aid. It’s a compass rose printed on transparent plastic, with a monofilament line coming out of the center. Designed to be used on a kayak deck or an open-boat thwart, it provides results in a fraction of the time needed for conventional tools.
Using the Nav-Aid is simple. You place the center of the rose over a point of interest and align the edges of the plastic with the latitude or longitude lines on the chart. Stretch the line out to a second point and read the bearing off the rose. To get distance, mark the monofilament with miles according to the scale of your chart using a waterproof marker, and the line becomes a movable scale. When the Nav-Aid is aligned with the chart, its compass rose will read true north and you can calculate magnetic north by doing the math for the local variation or customize the Nav-Aid to read magnetic. With a waterproof marker, draw a line on the rose through the variation, and add two lines at 90 degrees, kind of like a sideways H. Orient these lines to the chart’s longitude and latitude, and the compass rose reads magnetic. (If you travel to another region with a different variation, draw new lines in a different color.)
Now you can read the magnetic bearing and distance from your position to any point on the chart in less time than it takes me to write this, much faster than using a GPS. I’ve customized my Nav-Aid a bit further by marking its lanyard with the scale of nautical miles; it’s really handy when trying to figure out non straight-line distances. You can also mark a scale on the side of the plastic.
The Nav-Aid comes with a booklet of instructions and a mini-course in chart use. There are some issues to be aware of. With the prevalence of non-NOAA charts, the scale on the chart may be different from the 1:40,000 system common to NOAA. You may need to put an additional set of markings on your monofilament in a different color or estimate the differences. I also make paper copies of the scales and put them in my chart case at a convenient place on the chart.
More than a century ago, the T.S. & J.D. Negus nautical instrument company of New York City patented a similar protractor-type instrument made of isinglass, using a silk thread for a string. The one shown here, printed on a round card, is in the collection of the Penobscot Maritime Museum. A Negus Course Protractor in the collection of the Mystic Seaport Maritime museum is printed on a square card. The protractor is included in the Negus catalog of 1899 but it didn’t sell well, because ship captains didn’t need it. They had chart tables, parallel rulers, and armed protractors. When Chuck developed the Nav-Aid for kayaks and small boats, he didn’t know about the Negus protractor, and mini-GPS devices didn’t exist. Things have changed electronically, but I still use and like my Nav-Aid. You will too.
Ben Fuller, curator of the Penobscot Marine Museum in Searsport, Maine, has been messing about in small boats for a very long time. He is owned by a dozen or more boats ranging from an International Canoe to a faering.
The Nav-Aid is available by mailing $8 to Chuck Sutherland at 2210 Finland Road, Green Lane, PA 18054. You can reach Chuck by email at [email protected].
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When Bill Carlson decided to build a rowing shell, he had never sat in one, let alone tried to row one. But he had good shop skills: He’d already built an aluminum sailplane with a 56′ wingspan, a replica of a 1965 Cobra roadster, a MacKenzie River drift boat, and a strip-built kayak. And, now retired from a career as a manufacturing engineer in the medical industry, he had time to devote to building a shell and learning how to row it.
His search for plans led to Steve Killing’s Dragonfly, a rowing shell that the designer describes as falling “between a hard-to-master racing shell and a much-too-sedate recreational shell.” Bill “liked the idea of the recreational shell, which would offer the rowing-shell experience but with a little more stability,” but the Dragonfly, with a waterline beam of 17″ and an elevated seat, would still be quite tiddly. Its stability, like that of a racing shell, would come from the sculls, quick reflexes, and, eventually, a well-refined sense of balance.
Bill’s experience with strip-built kayak construction would provide a good base for the demands of building the Dragonfly. He wanted to do exceptionally fine work on his rowing shell, so instead of using the 3/16″-thick western red cedar strips he’d been accustomed to, he milled Spanish cedar into 1/4″ strips. Spanish cedar, Cedrela odorata, isn’t a true cedar (neither is western red cedar, for that matter), it’s a variety of mahogany from Central America and was used in the building of racing shells through the early 1900s. Bill went online looking for the longest stock available, hoping to minimize the number of scarf joints required to make the strakes for the 22′4″ hull. He found a source for 3/4″ x 6″ x 13′ boards and had 11 shipped to his home.
Before he started sawing the cedar, he marked the boards so he’d be able to keep the strips in order for the best match of grain and color when it came time to fit them over the molds. Outfitting his tablesaw with a 3/32″ thin-kerf blade instead of a standard 1/8″ blade gave him gave him an extra strip for every eight he cut. To keep the milling as accurate as possible, he used feather boards to keep the stock tight against the rip fence and regularly checked the strips’ thickness with a caliper. At the end of the milling operation he had 165 strips and two 30-gallon cans filled with fragrant sawdust.
Bill had a 16′ strongback he’d made for another boatbuilding project and added a 6′ extension to it for the Dragonfly. The plans called for 21 molds, one every 12″, and forms for the bow and stern. Precision was the key to a fair hull, so Bill had the plans copied onto Mylar, carefully cut each pattern, and traced them to high-quality plywood. With a disc sander mounted in his tablesaw he trimmed the roughed-out forms, splitting the pencil lines.
Aligning the forms on the strongback, Bill noted, “was probably the most critical part of the whole boat as it determined the final look and performance of the boat.” He spent two days at the task.
Applying the strips to the molds was also slow, painstaking work. Bill’s home-made strips didn’t have the bead-and-cove edges commonly used to eliminate gaps between them. Instead, he carefully cut 23′ -long rolling bevels with a sharp and finely tuned block plane. It could take him two hours to get a perfect gap-free fit for a single strip. With that level of attention to detail, using staples to hold the strips to the molds was out of the question. There would be no rows of holes in Bill’s Spanish cedar. He used dabs of hot-melt glue, wedges, and clamps to hold strips in place.
The Dragonfly, as designed, has a foredeck that sweeps gracefully down into the cockpit and levels out to form the rower’s bench. It’s an innovative and sculptural feature, but Bill preferred a more traditional look and added washboards to define the cockpit. They’d also deflect any water that comes over the foredeck.
Killing designed a one-piece outrigger for the Dragonfly, a laminated wooden arc bolted to threaded inserts in the gunwales and aft deck. Bill opted for a carbon-fiber wing outrigger, which is lighter and, with backstays to the tops of the lock pins, perhaps stiffer. The other rowing components—seat, tracks, and stretcher—came from Pocock. Bill’s 10′ carbon-fiber sculls are by Dreher.
In the video here we see Bill take the first strokes of his newly launched shell. He’s a bit tentative and wobbles a bit, but he stays upright and his rowing form shows good promise. Last year Bill joined a rowing club to get some coaching and reports he’s enjoying the boat and his new sport.
Canadian Canoes engaged Steve Killing in 2001 to draw a single shell for a customer who had rowed while attending a university. Steve drew the lines for the Dragonfly and a few were built at the Canadian Canoe workshop, but an instruction manual was never written. For boatbuilders with enough experience to work from Killing’s drawings, copies are available upon request from Bear Mountain Boats.
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Jim Levang’s Calendar Islands Yawl is a real beauty. Maine designer Clint Chase acknowledges the influence of designers he admires, especially in his early work—Paul Gartside, Iain Oughtred, François Vivier, and Joel White in particular—but intuition also plays a big role in his boats. “I just draw until it looks right,” he says. Based on this new yawl of his, it’s an approach that works extremely well, if you have as good an eye as Clint Chase, and have spent as much time looking at boats as he clearly has.
One design that Chase spent some time looking at was Australian designer Michael Storer’s Goat Island Skiff, a seemingly simple flat-bottomed skiff with a big balance-lug rig that has earned a reputation as a very fast sailer. But the Goat Island Skiff is not at its best in a chop, or under oars. One of Chase’s friends suggested there ought to be a Maine version of the Goat Island Skiff, something that could handle the rough waters and open stretches of the Maine coast. Chase happened to have on hand the preliminary 3D models for an 18′8″ yawl he’d been working on. It was too beamy for easy rowing, and much bigger than the Goat Island Skiff, but with his friend’s comments in mind, he played around with the design and, after scaling it down to 15′6″ and a beam of 5′2″, everything seemed to fit. The Calendar Islands Yawl was born. Chase describes the new design as “a fast, mostly-sailboat for singlehanders who would need to row for good lengths of time.”
Just two weeks after receiving the very first kit for a Calendar Islands Yawl, builder Levang started planking, and just three weeks of evenings and weekends later, working alone in his garage, he had a fully planked hull. Considering all the preparation work necessary for a conventional build—lofting, molds, strongback, keel, stems, and transom—I can see why Levang reported that the boat almost built itself.
The kit’s well-designed building jig, computer-cut in oriented-strand board, speeds construction considerably. Its molds are cut to fit the boat’s permanent frames, and tabs and slots routed into adjoining parts make them self-locating. “It’s a very slick system,” says Levang. Frames, bulkheads, and the centerboard trunk are positioned, epoxied, and filleted before the planking goes on, so much of the interior is already in place once the boat is turned right-side up, eliminating a lot of fussy fitting and fairing.
The 15′6″ Calendar Islands Yawl is designed for glued-lapstrake construction, with a narrow flat bottom and five strakes. The planks come precut in sections, ready for assembly into full-length strakes. The jigsaw-puzzle joints that join the sections together, commonly left exposed in kit boats, is invisible, cut only in the middle laminates of the plywood and overlapped by the outer laminates. With this stair-stepped approach the resulting seams visible on the inside and outside faces of the planks are gently undulating lines, a more refined look for a bright finish than the bulbous curves required to lock sections together . The bottom is glued to the interior framework and then the garboards are hung; seams between the bottom and garboards are reinforced with fiberglass tape. Before the remaining strakes are added, the garboards and bottom are sheathed entirely with fiberglass cloth and epoxy.
The kit includes precut parts for every plywood component in the boat, a detailed bill of materials, and a few full-sized Mylar patterns for parts that aren’t precut. Builders have the option to purchase an epoxy-fiberglass kit, a hardware kit, a sail, a painting kit, and even a carbon-fiber mast.
“All of my boats will eventually be buildable from plans or kits,” Chase explains, “but I need to convince people that the kits make more sense. It’s a huge added value to have all of the parts precut.” CNC-machine-cutting the parts can save on the cost of materials, notes Chase, because it can cut a tighter-nested sheet layout than it’s possible to do by hand, and removes the possibility of cutting errors. In addition, a typical kit customer will see a 25-percent savings in the time required to finish the project. “That said, when I was getting into boatbuilding,” Chase says, “I was frustrated when a boat was only available as a kit. I wanted to learn more about lofting and making plank patterns and so on. I respect that, which is why I want to offer plans as well.” There are a lot of traditional skills to learn and put into practice when you start with a lines drawing and a table of offsets: With a precut kit you skip lofting, fairing lines, and picking up patterns.
Jim Levang wasn’t bothered by that. To him, a computer-cut kit is not a shortcut; it’s merely the direct route, the logical outcome of the high-tech design approach Chase employs. Using paper plans to build a boat designed in a digital 3-D modeling space for plywood construction, Levang says, “would be like hooking horses up to a car and using it as if it were a stagecoach.”
I had Jim Levang’s Calendar Islands Yawl —hull No. 1—to myself for a 10-mile sail across the western tip of Lake Superior near Duluth. Rigging and launching the yawl was a cinch: We stepped the masts, pinned the removable boomkin in place, attached the rudder and tiller, and backed the trailer into the water until the boat floated free. I hoisted the balance-lug mainsail with the first reef tied in and shoved off from the dock.
I hadn’t gone more than a half mile before I decided to shake the reef out and try the yawl under full sail. With the mizzen sheeted in, the boat lay sedately head-to-wind, drifting slowly backward as I dropped the mainsail. Undoing the reef and rehoisting the sail took only a minute or two, but by that time there was a 700′ ore boat inbound through the ship channel. I tacked and jibed in tight circles to stay well out of the way, dodging back and forth in the narrow space between the nearby loading docks. The Calendar Islands Yawl came about reliably and smoothly, even in the shifting breezes behind the tall ore docks. Everything felt good and as soon as the channel was clear, I headed out onto Lake Superior.
By the time I’d reached Duluth’s inner harbor early that evening, I’d had a fair chance to try out the new design. The big, high-peaked mainsail is a delight in light airs, moving the boat along at a steady 3 knots when I can barely feel the breeze. The leg-o’-mutton mizzen is self-tending and almost makes the boat maneuverable enough for parallel parking.
Sailing performance is clearly the main focus of the design, but even so, the boat feels light and responsive under oars, tracking and steering well. Unstepped, the mast fit easily in the boat (heel aft, masthead protruding over the bow) without obstructing the oarsman’s stroke. The trim seemed just right for a singlehander, with the transom carried well out of the water. I maintained 2 knots without much exertion at all. With my long arms I felt the spacing between the oarlocks and the thwart was a bit too short, though; a wider thwart that extends farther forward would allow some room to accommodate rowers of different heights or to change position slightly during long stretches at the oars. There’s more freeboard than I’m accustomed to in a rowing-oriented boat, but that’s not a complaint; with 121 sq ft of sail, that extra freeboard will be greatly appreciated when sailing in rough conditions.
The late afternoon brought stronger winds, and I was soon sitting on the rail and paying close attention to the gusts. Even under full sail the boat felt stable and well under control, but like the Goat Island Skiff, it carries a big rig for such a light boat, allowing stellar performance in light air and keeping things manageable when it breezes up. Still, “reef early and often” will be the general rule. The yawl rig lets the skipper heave-to easily for reefing, or bringing instant calm and comfort whenever a break is needed. Sailed sensibly, this is a boat that can take you places—and more important, bring you back.
Large sealed chambers in the bow and stern, and under the side benches, provide ample flotation for capsize recovery. The tops of the bow compartment and center thwart are on the same plane, well below the sheer, providing a handy, unobstructed space to drop the mainsail and stow the bundled sail, boom, and yard. The tiller passes through an oval hole in the center of the transom; the mizzen is offset to starboard so it’s not in the way. The combination of a long tiller and a long centerboard trunk made onboard maneuvers a little awkward, though—a shorter tiller with an extension would be much more convenient.
The Calendar Islands Yawl has both a centerboard and a daggerboard option. The centerboard has some nice features: The interior sides of the trunk have shallow grooves to receive the board’s pivot pin, and these grooves make it possible to insert and remove the centerboard through the top of the trunk. The board is held down with a simple bungee, allowing it to retract if it hits an obstruction. Although I generally prefer centerboards, I’d make an exception in this case. With the boom kept fairly low to maintain a low center of effort for the rig, getting around and over the centerboard case when coming about felt more than a bit clumsy, even after a few hours aboard. A daggerboard would open up the cockpit aft of the center thwart completely, making it much easier for the helmsman to move across the boat.
Then, too, during my sailing trials I sometimes found myself sitting farther back in the boat than good trim demanded, at the forward edge of the side seats rather than nestled in behind the rowing thwart. The space between the side benches and the center thwart, an interesting design feature, creates a cozy spot well forward for the helmsman to lean against the side of the hull when a bit of weight is required to windward. A removable seat insert can be used to extend the side benches to the thwart when desired, but either way, a daggerboard would be a better choice here, since the centerboard case restricts the space available.
By the time I reached the Duluth ship channel and dropped the main to row into the inner harbor, I was wishing I could have more time with the boat. A whole summer, maybe with time to adjust the details of rigging and fitting out for camp-cruising, time to find out just how much speed that big rig can really provide, and time to get used to the admiring comments from other sailors as we breeze past them—although I must admit that, after my day with the boat, I’d already grown accustomed to that part.
The Calendar Islands Yawl is so beautiful, and meets its design brief so well, that I had to remind myself that the boat I’ve sailed is the first of its kind, rather than an established design that has gone through a number of small refinements over the course of several years. Chase is considering minor changes, including a slightly firmer turn of the bilge, and a lower transom to increase bearing aft and provide a little more speed off the wind. He also intends to remove the aft compartment and extend the side seats back to the transom, which would simplify construction of the mizzen step while still providing plenty of buoyancy. And although Chase hadn’t initially intended the crew to sleep aboard when cruising, he may include details for an optional sleeping platform. But whatever tweaks Chase incorporates, his Calendar Islands Yawl has already hit the mark.
I’d had a great day of sailing, but it couldn’t last forever. As the sun dropped below the horizon, Jim Levang met me at a small beach along Duluth’s inner harbor, where the boat’s rocker and narrow flat bottom made it easy to roll the hull up onto a couple of plastic fenders. From there, four of us lifted the boat out and carried it to his trailer. A few minutes later we were on the road.
As Levang dropped me at my car back on the Wisconsin side, I was already running through my list of fellow boatbuilders. I have two boats already, and a new build underway, so I’m not in the market for another boat yet, unfortunately, but there’s got to be someone in my area who can be persuaded to build a Calendar Islands Yawl—the daggerboard version. It’ll have to be someone who’s too busy to go sailing much himself and willing to loan the boat to me.
Tom Pamperin (www.tompamperin.com) writes regularly for Small Boats Monthly. His first book, JAGULAR Goes Everywhere: (mis)Adventures in a $300 Sailboat, was released in 2014.
"So, should we be expecting a prolonged period of rain?” asked a neighbor as I clamped the final plank onto the Welsford Penguin taking shape in my garage. The reference to Noah’s Ark had been made rather frequently as I carefully built my 21′ sloop, STELLA MARIS. The deluge was not imminent, as I took my time over 10 years to complete the boat. However, the comparison to the ark is not entirely misplaced.
John Welsford designed this trailer-yacht to be a roomy and comfortable cruiser with aesthetic appeal and excellent seakeeping ability. A curvaceous design, there’s hardly a straight line to be found from the rockered bottom to the striking sheer and the curved cabin roof. The gaff rig elicits images from a bygone era, but there is nothing old-fashioned about the Penguin. Plywood-on-frame construction with fiberglass sheathing results in an extremely strong yet relatively light structure. The interior layout is exceptional for a boat of this size, with a queen-sized berth in the forward compartment, ample storage, a head with privacy, a galley, comfortable seating in the main cabin that can sleep another two sailors, and even more storage space. So while it is not quite an Ark of Noah’s dimensions, it is pretty impressive for a 21-footer.
The hull is lapstrake with rounded sides and generous freeboard, culminating with a slightly raked transom. A substantial weighted centerboard and large rudder keep the vessel on track and, even with the gaff rig, allows for respectable windward performance. A lead shoe keeps her on her feet, and the designer indicates that the Penguin “will self-right from well past 90°.” A ground-tackle locker in the bow holds a good-sized anchor and all the rode you might require, while providing a handy and secure place to rest your feet if you want to sit forward while under sail. The deck and cabintop provide sufficient room for handling sails and rigging safely.
Penguin plans offer several sail configurations: gaff, Bermudan, and yawl. I built the gaff rig. The mast tabernacle and other fittings are extremely strong, with wire forestay and shrouds anchoring the rig to stout chainplates. Welsford’s drawings are precise and well detailed, and although a gaff rig can be somewhat complicated to get just right, his guidance is spot-on.
Twenty pages of highly detailed drawings, along with a materials list, several pages of instructions, building suggestions, and an index, should be sufficient guidance for any reasonably patient and skillful builder to complete a Penguin. While I took 10 years to build mine, that’s no indication of how long it should take a motivated builder to get the boat to the water. I worked alone, mostly evenings and weekends, with frequent interruptions by family, work, and other events. And on top of that, building in Canada can be a challenge with our very long and cold winters, when an unheated garage just isn’t the place to be for about five months of the year. That being said, much of the building, especially the early stages, took place in my basement workshop: measuring and cutting out the bulkheads, centerboard case, and numerous other smaller parts. Measurements are in metric, which pose no problem to those who are accustomed to working in inches and feet when you have rulers and a tape measure with both metric and imperial readings.
The Penguin is built upright, beginning with construction of a sturdy building frame; I built my building frame on a foundation of wooden prefabricated I-beams of the type used as joists in home construction. This solid and level foundation is critical for accurate placement of the bulkheads, which define the shape of the boat. Often in the building process I found myself using a level to check the placement of components, and this works only if your building frame is level too.
Once the bulkheads are up, longitudinal strips that will define the shapes and positions of the planks go on. I used ash for the interior stringers, and found them to be sufficiently flexible to take the bends and twists. When thicker stringers were called for, as in the sheer clamp, I laminated them in place, in ash, in order to avoid breakage and steaming. Given the price of high-quality marine plywood, I used inexpensive doorskins as templates for the planks and many other curvy pieces. My wife didn’t like the wood paneling in our basement, so those sheets of old paneling were also put to good use in making patterns. As a result, I had very little waste of the good meranti plywood.
Once the boat was nearly complete, it had to be turned over to complete the bottom. I jacked up the construction platform, installed heavy-duty casters under it, and used 2x6s to build two octagonal forms around the boat. With the help of friends and neighbors, we pulled the platform out onto the driveway, and using a variety of winches and block-and-tackle, gently rolled the boat over on the octagonal forms. Then I moved the casters from the top of the construction assembly to the new bottom, and brought the platform back into the garage. This event proved to be quite a pleasant community gathering.
With STELLA MARIS upside down, I faired and sealed all of the exposed plank edges with epoxy, and fit the Douglas-fir keel and skeg. I covered the bottom first with a layer of Kevlar up to the waterline and over that with layer of fiberglass and epoxy.
Did I mention sanding? Or rather fairing and sanding, sanding and fairing? Actually, it wasn’t so bad, since with careful construction in the early phases and precise placement of the planks, the hull was quite fair to begin with. I built a dummy ballast from pine boards, and faired it to the exact shape that the lead would take, with a slot for the centerboard and holes for the keelbolts. I had acquired lead ingots and my plan was to melt them in our backyard, but my wife nixed that idea. I took my dummy keel to a lead-casting company that did a superb job of pouring the ballast. Even the bolt holes lined up perfectly once the boat was rolled over again. The lead shoe weighs close to 1,000 lbs and, needless to say, one becomes quite good at using a variety of jacks when working with something so heavy.
The final phase of construction involved the wiring of the navigation lights, interior lighting, and VHF radio. I called in my friend Daniel, a Navy veteran, to assist with rigging. His knowledge and assistance were invaluable as we laid out the spars, sails, blocks, and lines on the lawn and put it all together.
My rigging crew and I brought STELLA MARIS to the wide Ottawa River for her launch on June 24, 2015. After we raised her mast, bent on the mainsail, adjusted shrouds, and installed lazyjacks, we backed her into the water. She glided off her custom trailer easily, and sat at the dock looking quite pretty. Satisfied with our morning’s work and assured that the rigging worked as designed, we motored to my slip at the Nepean Sailing Club. We decided to take her for her inaugural sail once we were rested and the winds were favorable.
The next day we were out in 8 knots of wind, discovering that hauling up a gaff involves a substantial amount of line. Once the main was up and the jib was flying, STELLA MARIS kicked up her heels and she was off. The occasional gust did not perturb her at all, as she moved gently on all points of sail. It was a great success. A few days later, we took her out in stronger winds, gusting to 20 knots. With a single reef in the main, she performed splendidly, and was fast: We easily kept up with other boats, some quite a bit larger. She did not sail as close to the wind as marconi-rigged boats, but sailing just a few points off the wind she picked up speed and was a delight. She has a gentle motion when responding to changes wind speed, unlike the tiddliness of many other boats I’ve sailed. Her only shortcoming, in my estimation, is that she’s a bit rolly in a beam sea, but this is nullified when the sails steady her in a good breeze.
My youngest daughter became frightened of sailing at a very young age when we were surprised by a squall while sailing a dinghy. Now her fear has disappeared as STELLA MARIS solid and gentle motion reassures her. I look forward to building Welsford’s Pathfinder, but my wife won’t hear of it unless I find a new home for the Penguin. Is there prolonged rain in your forecast?
Having recently retired from a career in education, Jonas Abromaitis fills his days building things, the most enjoyable of which are boats. His challenge is finding the right balance between time spent in the workshop, and time spent on the water. He sails STELLA MARIS out of Nepean Sailing Club in Ottawa, Canada.
Art Arpin was a Flying Tiger. He wasn’t one of the original group of American aviators—he joined just after the departure of their commander, Claire Lee Chennault, in 1942—but took part in their ongoing mission to defend China against the Japanese. How do I know this? Because Art told me while he was holding one end of a board I was cutting for a boat I began building in 1998 and launched three years later. I cut a lot of boards, and Art told me a lot of stories.
First I have to tell how I came to build a boat in Coeur d’Alene, Idaho. My wife, Samm, and I met as children growing up in the California Delta. I tell people our town was so small that we were the only people left who could legally marry. Samm is a remarkably understanding person, and when I asked her if she’d allow me to have my midlife crisis by building an Amesbury Skiff in the garage, she wholeheartedly agreed, as my other option involved gold neck chains and a Corvette.
The skiff, named ARCUS, cost $300 in materials and $400 in books to build. Now, 21 years later, I still use ARCUS on a weekly basis, and she looks brand-new.
Samm and I moved our family to Coeur d’Alene in 1995; being an architect, I designed and built a house for us on an island on the Spokane River. It quickly became apparent that we’d need a powerboat to enjoy the body of water that surrounded us. I dug out the books I’d purchased for the building of ARCUS and reread everything.
In John Gardner’s Building Classic Small Craft, Volume 2, I found a snippet of information about a mysterious half-hull model he found nailed above a workbench at the Hammond boatshop in Danversport, Massachusetts. John noted that the boat built from the model was known for its speed but nothing regarding the layout of the interior was ever found. He measured the half model and drafted the lines, and that drawing was the only illustration he included in his chapter about the Hammond dory. I thought it was the perfect boat. It was sleek and had the potential to be a great family boat. Best of all, no expert could tell me I was building it wrong. I named the boat-to-be ELSIE MAE after my mother.
Art was 83 years old; he and his wife, Audrey, lived next door. He had retired from the Seattle Police force, and the couple had moved in just a year before we arrived in Coeur d’Alene. In the summer, Art, wearing only a Speedo swimsuit, rode a bike all over the island. Once in a while I would see him in a rappelling harness on his roof, apparently just something he’d do when he got bored. Audrey, an elegant lady, seemed to expect Art to do something eccentric every day.
Although he was an odd character, his love of boats brought us together. He was impressed with ARCUS; I told him I intended to build a power dory after I finished the house. Having grown up in Connecticut, Art knew about power dories and offered to help me build mine.
I built our house with an unusually deep four-car garage. Its long wall— Sheetrocked, sanded smooth, and painted white—was like a giant sheet of paper. Samm hadn’t questioned why I had built such a long garage, but my reason became clear when I began lofting a 26′ power dory on the wall.
For those not familiar with power dories, they are a nearly extinct type of workboat that had their heyday at the dawn of the 20th century. They had narrow, flat bottoms and sides either flat or round. They were easy to build, could carry enormous payloads, and were popular with fishermen because of their seakeeping abilities. They never fought the water; they simply allowed waves to roll under them.
I began building the power dory when I was in my mid-40s. The project was relegated to weekends and nights: I turned on the garage lights after the kids’ homework was done and the dinner table was cleared. Art could see our garage window from his house and when the garage light came on, Art was soon knocking on the garage door.
I had generated a full set of drawings from lines published in Gardner’s book and lofted them on the garage wall. A single 24″-deep truss joist from the local lumberyard served as a strongback: I laid the joist on its side, leveled it, and marked the station locations. After that it was just a matter of cutting and fitting the plywood and lumber to do their respective jobs of keeping the water out.
Art had been an avid sailor in the Seattle area and had some experience with boat construction. He told me about restoring the ARTHUR FOSS, a wooden tug built in 1889 and now a floating museum on Seattle’s Lake Union. It was a huge project and he was proud that he’d helped save the old tug. He was quite helpful and always ready to place a clamp, support a board coming out from the tablesaw, or hold the dumb end of the measuring tape, all the while telling stories. He never interrupted the progress of the work—it was like having a book on CD playing in the background.
Art said he was a pilot during World War II. He loved flying and during the war had flown just about every type of aircraft, but mostly twin-boom P-38 Lightnings. I’m a big fan of World War II fighter aircraft and listened intently. Art flew in China and North Africa, and after the war he ferried brand-new P-51 Mustangs right from the factory to the bone pile in Arizona. He told me about an argument he’d had with the officer in charge of destroying the new planes. They were finished without radios, so Art would bring his own and install it before each flight. The destruction chief insisted that anything that arrived in the plane had to stay with it and be destroyed. Art said he had won the argument but didn’t offer any more details. He just smiled. His garage, I had noticed, was crammed with aviation gauges and electronics.
For weeks I measured and fitted pieces; Art always knew when to plug in a power tool I’d soon need and how to support the free end of a board I was working on. Our island community is tight, almost claustrophobic, and other neighbors often came by on weekends to chat and see the progress. No boat had been built in a long while on the island, so interest in the project was high and interruptions frequent. Art preferred to come around when there work was to be done.
He told me about working after the war at General Dynamics Electric Boat in Groton, Connecticut. He was the chief procurement officer for the USS NAUTILUS, the world’s first nuclear-powered submarine. Only Art and Admiral Rickover had complete access to the boat during its construction. Art didn’t know much about atomic energy, but he knew where to get a left-handed wing nut when one was needed. He would get the wish lists from the various foremen in the morning and go scour the docks until he had the material they needed.
Like me, Art was a displacement-hull enthusiast. While he had flown airplanes at 400 mph right at ground level and seen the world at high speed, water, he agreed, should be enjoyed slowly. But boats like the Hammond dory had slipped into obscurity early in the 20th century when aircraft development spawned engines with higher power-to-weight ratios. Boatbuilders, eager to take advantage of the new power plants, discovered the extra horsepower just pushed displacement hulls deeper into the water and wasted energy. The solution was to break the displacement barrier by climbing over the bow wave and riding on the surface of the water. New boats capable of doing this became known as hydroplanes, and with their seemingly limitless speed, the future of power dories was doomed.
Gardner’s book brought power dories back to life for me. His wonderful works preserved the old designs of the pre-hydroplane era. I devoured everything I could find from his pen and from Mystic Seaport.
After six weeks of work, the frames and bulkheads were assembled and standing at their stations on the strongback. I developed a system of half-round stringers following the chines as backing for the lapstrake joints. It somehow seemed to me the natural thing to do. Later I remembered it was exactly the same system used to make balsa airplane model fuselages, though this time I would be skinning over the stringers with plywood and epoxy instead of tissue paper and dope. To bevel the stringers to fit the angle between strakes, I mentioned to Art that I needed a long-tailed plane. Art left to look through his garage. He returned a half hour later with a plane over 2′ long. It worked perfectly.
The dory was coming together without a hitch, but I still needed to find a power plant. The maximum hull speed would be about 5 knots and the dory would need only 6 hp to get there. I wanted the motor to be as close as I could get to what the Hammond brothers would have used, something heavy and low powered.
I had spent that first year of building the boat fretting over the problem of the gas engine. An authentic engine could be easily obtained from a supplier of make-and-break engines in Lunenburg, Nova Scotia, but the volatility of gasoline haunted me. I asked the Canadian supplier how easy the old engines were to operate. I was assured that they were tough and reliable. I would need only to shut off the ignition, wait for the flywheel to slow, and then kick the flywheel with my foot in the opposite direction while reversing the ignition. This explains why old sea captains are always depicted with peg legs. I decided to look elsewhere.
Some Japanese companies were building small inboard diesel engines for sailboats. I considered one for a while, but the high rpms and knocking sounds of the engine seemed like a desecration of everything I was trying to do, and the engine would cost me around a thousand dollars per horsepower by the time I had installed the little shaker.
Out of frustration I called an old-time boat equipment supplier in Seattle and was given a lead to a waterfront repair shop in the Port of Everett. I called and, as instructed, asked for Jim. I explained my boat and said what I really wanted for it was an old Sabb diesel engine from Norway. Jim said he had pulled a 10-hp Sabb out of a sailboat just the previous month. It had been to the South Pacific twice but was in great condition.
I bought the engine over the phone, asking him to hold it until I could get over to Everett the following week. I called Art and he agreed to join me on the six-hour drive in my little pickup truck to see it. During the long drive, Art told me about his first night in China as a Flying Tiger. He was an honored overnight guest at the home of the village mayor and given a bed with an insect net draped over the bedposts—malaria was a problem in that part of China. Art awoke at midnight and saw an enormous tarantula on the inside of the netting. He drew his .45 and shot the spider dead center. Startled out of sleep by the gunshot, everyone in the house was in an uproar. The mayor rushed into the room and Art, through lots of hand gestures, indicated that he’d killed a dangerous spider. The mayor then explained through broken English that the spider was kept inside the net to eat any mosquito that should get by the first line of defense. I asked Art if he had to repair the ceiling. He chuckled and said it was a thatched roof.
When we arrived in Everett, I was pleased by what I saw: The heavy Sabb engine with its large flywheel would be a perfect fit for the dory. Jim accepted a down payment and agreed to hold the engine while I finished the boat.
I worked steadily throughout the winter of 1999. When it snowed, Art would arrive at the garage door in rubber boots. I set small goals for our evening sessions and let Art know what I wanted to accomplish before bedtime. Once the goal was reached, Art would say good night and head back home through the snow.
One Saturday, Art was helping while I mixed epoxy. I pumped a small amount of the two-part cocktail into the mixing cup and as I began the two-minutes of stirring, I asked Art if he had seen any action during the war. He said he had volunteered to fly as co-pilot in a C-47, a twin-engine transport airplane adapted from the Douglas DC-3. The mission was to fly supplies from US air bases in China, over the Himalayan Mountain range to the British in Burma along a route known as “The Hump.” They were over a Burmese jungle when a Japanese Zero pulled in behind the C-47. The pilot ordered the cargo to be shoved out the large side door to lighten the C-47. Art had the only weapon on board, a .45 automatic pistol. He opened the side window of the cockpit and fired at the Zero as it roared by. The C-47 pilot ordered the crew to strap in and put the plane into a steep dive aimed at the river in the bottom of a canyon beneath them. A fighter pilot, Art explained, can become fixated on the target and lose track of where he is. The pilot of the Zero followed the C-47 downward. Art’s pilot waited for the last possible moment to pull up hard out of the dive. The Zero, reacting a fraction of a second too late, couldn’t pull up in time and crashed into the river. The C-47 pilot was credited with a kill. Art finished the story by saying they landed safely but the plane never flew again. Its wings had bent up 5 degrees coming out of the dive.
We flipped the hull upright on Mother’s Day. My parents were present and Mom sat in her namesake for pictures. In the weeks to come, all of our family members, whenever they were in town, helped with sanding the interior of the hull in preparation for epoxy and paint.
It had been almost a year since I’d put a down payment on the engine. I had been sending letters to Jim in Everett every month assuring him we would indeed collect the engine. Art and I drove over expecting the engine to be overhauled and a bill for repairs to be paid, but Jim said he had done nothing to the engine in the time he’d held it for me—there wasn’t anything that needed doing. The engine with its variable-pitch reversible prop ran still like new.
Drilling the hole for the drive shaft took a lot of courage, and Art and I discussed the process at length. He had, of course, an electric drill big enough for the job. I found a bit for the job, a 1½″ single-cutter auger with a pilot, and an extension and we started boring the 18″-long hole. The bit emerged right on the mark, and we celebrated with some ginger beer that Art found at an obscure market in town.
The interior was complete, and Amy, another one of our neighbors, was sewing the cushions and the boat cover. After almost two years working on the boat, I felt Art and I had gone through enough together to ask him if he had downed any enemy planes. I knew he had lost an engine in his P-38 and landed safely, and he had talked about losing friends flying in formation during difficult ocean crossings, but those had been due to navigational errors, not combat. He had never shared any stories about dogfights.
Art, who had always smiled while telling his tales, took on a grave expression. Toward the end of the war there was very little dogfighting. The Japanese aircraft and equipment were rapidly becoming obsolete, and their experienced pilots were all gone. His P-38 was not considered a fighter aircraft, so the tactic was to fly at a high altitude and make a single pass diving on unsuspecting Japanese planes. If you hit one, good; if not, you kept diving to get enough speed on so it couldn’t catch you. He told me he had downed two Japanese Zeros. Having lived into his 80s, Art realized how much life he had been able to live after the war. When he was flying in China he had not thought of the men in the planes, only that he had shot down machines. Now he realized how much joy he had deprived those young men of. We did not talk about the war much after that.
We launched ELSIE MAE at the Coeur d’Alene Resort. I had just finished designing a house for Jerry Jaeger, one of the owners, and he lavished the event with a complimentary cruise-boat party. On board our friends celebrated with champagne; our daughter Sara played “Anchors Aweigh” on the violin (her music teacher’s idea); another daughter, Erin, made a wreath to drape over the bow; and oldest daughter, Heidi, and her fiancé Sean were aboard ARCUS video-recording the event While Art stood by, almost at attention, ever at the ready, I thanked everyone who helped on the project. He was, of course, aboard for of the maiden voyage standing amidships, his oar tossed upright in salute.
I logged 790 hours of actual labor building ELSIE MAE. I spent at least twice that time thinking about what and how to perform each small step in the process. Art was there to be part of the resurrection of a boat from its long hibernation, and never suggested a better way to do something or argued over whether a decision of mine was wise or not. He spent at least 200 hours with me in the garage, and in all that time he only repeated one story. It has been 15 years since I built ELSIE MAE; Art Arpin is gone now, but he is as much a part of the boat as every piece of wood he touched.
Born on a Northern California dairy farm in 1953, Rann began drawing in 1954. In his younger years, he worked as a cowboy, a pool cleaner and rock ‘n’ roll singer, but it was art and architecture that seemed to have the most promise for him. He was educated at Walt Disney’s California Institute of the Arts earning a Bachelor of Fine Arts degree in Design. Rann is a licensed architect with projects in the western United States, Hawaii, Alaska, Canada and Mexico. Rann is married to his high-school sweetheart, Samm. They have three daughters, three sons-in-law, 6 grandchildren and 3 grand-dogs. They are all an inspiration to Rann’s art and spend a part of their lives posing for his 25 years of personal Christmas cards. To see some of his work, visit rannhaight.com.
If you have an interesting story to tell about your adventures with a small wooden boat, please email us a brief outline and a few photos.
When you give a plane a sharp edge and set it to make a fine cut, it’s easy to come neatly up to the pencil line you’re cutting to. It’s not so easy to keep the plane square to the work, especially if its sole is teetering on a narrow edge. For some jobs, such as fairing the edge of a lapstrake plank, being off a few degrees isn’t cause for concern, but for other jobs, such as planing stitch-and-glue panels in pairs or joining boards for a transom, an unwavering square edge matters. I’ve resorted to a few simple shop-made fences clamped to a plane to make it easy to keep the tool square to the work.
For working long, straight edges on lumber with a jointer plane or a jack plane, I’ll use a fence clamped to the side of the plane. It’s a bit like a shooting board that moves with the plane instead of staying with the workpiece. The fence is made of two pieces: The one that makes contact with the work is 2″ to 3″ wide; the other about twice that. Glued together, the two pieces of wood create a stagger that sets the work within the span of the plane’s blade. A small clamp holds the fence in place on the plane. The workpiece should be rigid enough to be held vertically, to support the weight of the plane, and to resist the lateral pressure the fence requires.
When I’m shaping long, curved plywood planks that are too flimsy to be worked if clamped vertically on the face of a workbench, I use a block plane with a fence clamped to its sole.
Flexible planks are better behaved when they’re resting flat on a long worktable and the smaller, lighter plane is more easily managed, it’s weight chiefly supported by the fence. While this is the only option for a plane that doesn’t have sides machined flat and square to the bottom, it has the added benefit of allowing the plane to be set at an angle to the work, shortening the contact area of the plane for concave work.
Skewing the plane also makes the “apparent” bevel of the blade more acute for easier cutting whether the workpiece’s edge is concave, straight, or convex. The sole fence is just a block of wood with squared faces and a 1″ hole drilled in the middle close to one face. Grooves cut with a rat-tail file or a bandsawn recess keep the fence from pushing against the plane blade.
I’ll occasionally have a hard time with a side fence on vertical work: a heavy plane working a narrow edge will want to tip and tends to cut at an angle. Then a pair of sole fences pressed to the sides of the workpiece with a light pressure will do the trick with the added benefit of making it easy to switch directions if the grain demands it.
When there’s a lot of wood between the rough-cut edge and the pencil line I need to get to, I use a small router equipped with a fence. The router removes wood quickly and won’t push the wood around like a hand plane will. The router also rests its weight on the work unlike a power planer. The work is clamped with the edge just beyond the workbench.
The router fence is a piece of hardwood, cut straight or curved to match the work, with an oversized hole for a straight-sided router bit intersecting the working edge. There are two holes for mounting the fence with machine screws; one is elongated to allow the depth of cut to be adjusted from gobbling wood to sneaking up on a pencil line.
A workpiece thicker than the bit is long can be done in two steps: Work up to the line and then remove the fence, flip the piece over, and use a bottom-bearing flush-trim bit to finish.
It’s worth mentioning that there are ways to use a batten both to draw plank shapes and then, while it is still in place, use it as a guide for a top-bearing flush-trim router. But these methods require nailing the batten to the stock. Using a router with a fence doesn’t take you automatically to a finished edge as these methods do, but you can draw your lines with a more limber batten, use spline weights instead of nails, and work a complex curve that requires more than one batten to draw.
Christopher Cunningham is the editor of Small Boats Monthly.
You can share your tricks of the trade with other Small Boats Monthly readers by sending us an email.
It’s widely accepted that organic food is better for us and the environment, so it’s not a great leap to reason that organic paint would be just as good for our health, the environment, and the longevity of our boats. When it’s time to think about painting your boat, it’s well worth considering a natural, solvent-free paint. Allback Linseed Oil paint is produced with natural earth pigments and linseed oil pressed from organically grown flax seeds. Plant-based paints are nothing new; linseed oil paint predates today’s petroleum-based products. Modern alkyd resin and acrylic resin paints create a barrier between the wood and the marine environment, but water eventually finds its way into the wood, and the moisture sealed inside by the paint results in wood decay, causing the paint to bubble, crack, and fail. Linseed oil paint preserves the wood by allowing it to “breathe.”
I ordered small samples of Allback’s raw organic linseed oil, their organic linseed-oil soap, and their linseed-oil paint to try out on strips of pine, teak, mahogany, cedar, and walnut. The oil and paint went on smoothly and dried flat without prominent brush marks. The paint dries to a flat or semigloss finish and can be turned into a high-gloss paint, according to the manufacturer, with the addition of some of their linseed-oil varnish. I used the nontoxic linseed-oil soap, rather than paint thinner, to clean the brush and my hands.
Linseed-oil paint adheres to all surfaces—wood, iron, glass, cured epoxy, and previously applied alkyd and acrylic paints—as long as they are clean, dry, and in good condition. Untreated wood doesn’t require a paint primer before finish coats are applied. If the wood is especially dry, a wiping-down with linseed oil, allowed to be well absorbed into the wood, will keep the paint where it belongs: at the surface. Apply at least two thin coats of linseed-oil paint, using a stiff natural brush to spread them out.
Boiled linseed oil and linseed-oil paint were used throughout the recent restoration of the Charles W. Morgan, the 174-year-old whaleship that is the centerpiece of Mystic Seaport, for both historical and practical reasons. During the restoration, new planking was saturated with multiple coats of boiled linseed oil. Old planking was stripped, water blasted, and then prepped with linseed oil. The entire hull was finish-painted with two coats of Allback’s black linseed oil paint. I spoke with Rob Whalen, the lead shipwright and project foreman for the MORGAN restoration, and it was clear that the Seaport’s research and testing had determined that Allback linseed-oil paint was the best choice for the preservation of the world’s sole remaining sailing whaleship.
I won’t know the outcome of my own paint trials for years to come, but linseed-oil enthusiasts support the manufacturer’s claim that the paint has excellent longevity while preserving the wood. Thad Danielson builds and restores wooden boats in Cummington, Massachusetts. “Prior to learning about Allback paint,” he wrote, “my boat paints always cracked and peeled in places, requiring sanding, filling, and repainting the entire boat every year. Last fall when we hauled SEA HARMONY, a 1937 Albert Strange yawl I’d painted with Allback paint, the yard manager looked at a few small breaks in the paint at plank seams and said: ‘Looks like your paint is peeling.’ I said it had been that way for seven years. He replied, ‘You have done very well.’ I also painted my Mower dory with Allback’s Old White. It goes on beautifully, and any encouragement to lay raw linseed oil on one’s boats seems all good to me.” Such longevity in a paint finish saves significant effort and expense in the long run.
Allback notes that its paints can take on a matte look over time due to the oxidation that occurs as linseed oil dries. Simply rubbing linseed oil or linseed wax on with a cloth will rejuvenate the paint’s luster.
On a cost comparison alone, Allback linseed-oil paint is pricier, at $0.30 per sq ft than Benjamin Moore SuperSpec at $0.09 per sq ft or Rustoleum Topside at $0.15 per sq ft. But to compare more accurately, dry weight needs to be factored. Linseed-oil paint is 100 percent dry weight: no added solvents evaporate from the paint; the linseed oil transitions from a liquid state to solid. The dry weight of petroleum-based paint is measured only after the water, volatile organic compounds (VOCs), and solvents evaporate from the paint. For some petroleum-based paints, only 40 percent of what’s in the can is dry weight. If you take into account the thickness of the film of paint after it has dried, quart for quart you’ll have nearly twice as much paint on your boat per coat of linseed oil paint.
Consider going organic with your next painting project. Using Allback Linseed Oil products will make a healthier, more effective, and—for traditional boats—historically appropriate way to protect your investment.
Capt. David Bill is a Sea Survival Instructor at Tabor Academy in Marion, Massachusetts, and writes about his adventures on his blog, Boats and Life.
Allback’s full line of linseed-oil products is available at Viking Sales.
For more information about linseed oil see “Linseed Oil: Both a primer and a finish” by Harry Bryan, WoodenBoat, September/October 2009.
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.
Sometimes, when you want to slide quietly from one fishing spot to the next, work up a narrow guzzle, or maneuver through a tight mooring field, it’s nice to be able to put a single oar over the stern to move the boat by sculling. The technique also comes in handy when you want to move your dinghy without getting your seat wet from the morning dew or simply do some salty stylin’ in front of a crowd of dock dwellers.
Learning how to scull takes some practice, but with the Scullmatix, a device that automatically produces the right angling of the blade, you can get your boat moving straightaway and without instruction. The Scullmatix provides benefits even for skilled scullers: It doesn’t strain your wrist, it allows you to stand in the best spot to trim the boat, and it converts one of your boat’s oars into a long, take-apart sculling oar.
To use the Scullmatix, clamp an oar in one side with its blade perpendicular to the device and a handle in the other. It’s sized to fit an oar with a diameter of 1¾″ and a handle with a diameter of 1½″ and a length of around 40″. The handle, situated below the oar, automatically twists the blade; you simply pull and push the handle back and forth.
I’ve been sculling for years, so I was curious to see how well the device would work and tried it on several boats. My narrow-bottomed Swampscott dory, TIPSY, was not ideal. A 7½′ oar I had kicking around was too short, even with a 48″ handle; an 8-footer, one of the dory’s regular oars, worked a little better, but I still had to stand too close to the stern. When I clamped the Scullmatix onto my 10′ sculling oar, I could sit on the after thwart; I had a good time sculling for a good half mile at 1.5 to 2 knots. The 10-footer has a 4′ blade that induces a slow and sustainable rhythm; the smaller blades meant for rowing wanted a higher “wag” rate.
With RAN TAN, my double-ended 17′ Tony Dias–designed Harrier, I have an outrigger for sculling. With the 7½′ oar in the Scullmatix, it didn’t feel like I had enough blade in the water. The 8-footer made a difference by immersing more blade area. But what was really nice was using my 10′ sculling oar. I could put my body weight into the stroke in a nice rhythm. The boat is a little light and narrow, and it rolled when sculled hard, so the big oar would have been better with a heavier or beamier boat.
I also tried sculling an 18′ Lund outboard skiff on a windy day, using an improvised oarlock socket on a bit of wood clamped to the transom. With my 10-footer in the Scullmatix I was able, much to my surprise, to make good progress into the wind. With a wide, steady platform offered by the wide stern, there was no problem with boat trim or rocking.
The Scullmatix is designed for use with an oarlock rather than a transom notch. The flange in the middle of the device is meant to bear upon the metal lock; it will chew up wood around a notch. The oarlock socket should be oriented athwartships, and whatever the oarlock is mounted on should be relatively narrow so that neither the oar nor the Scullmatix makes contact with it.
The Scullmatix is nicely made of heavy-gauge stainless steel, and the clamping surface is long and smooth enough so that even a soft spruce oar isn’t damaged by it. The unit has wing nuts to tighten it, and securing it requires pliers or a wrench as recommended in the instructions.
The action is indeed automatic. You won’t need to grip the handle firmly to maintain pitch, or to reverse your angle on every stroke. You can push it back and forth and grip the handle only during the pull stroke; your hand can be loose, and even open, as you push. This definitely helps prevent cramping and other wrist and forearm problems. I had no trouble sculling RAN TAN a couple of miles at close to 2 knots in smooth water with little wind.
The biggest challenge is making sharp turns. With a regular sculling oar you flatten your pitch on one stroke and use plenty on the other to turn sharply. With the Scullmatix it seems almost impossible to move the oar with no pitch. Instead, I would alternate a power stroke and almost a coasting stroke to turn. With more practice I’d expect to improve.
What is really handy about the Scullmatix is the addition of a handle to make an oar long enough to scull effectively. Generally a rowing oar is too short to get its entire blade into the water and forces the user to stand too far aft in the boat or hold the oar awkwardly close to vertical. The Scullmatix would be really handy for people wanting to scull small sail-and-oar boats not equipped with with an adequate-length oar for the job. The Scullmatix, by putting virtually the entire length of an oar aft of the transom, solves the problem; a custom-length handle makes it possible to scull from a comfortable spot in the boat. If you have such a boat, I’d certainly recommend adding the Scullmatix to your equipment.
Ben Fuller, curator of the Penobscot Marine Museum in Searsport, Maine, has been messing about in small boats for a very long time. He is owned by a dozen or more boats ranging from an International Canoe to a faering.