SPLASH! CERES Launches the Vermont Sail Freight Project

 

CERES, launched, rigged and ready!

SPLASH! CERES Launches the Vermont Sail Freight Project

A while back, I was approached by Erik Andrus regarding TriloBoats as freight (cargo) carriers.

His plan was to build a small, engineless sail freighter which could carry stable Vermont produce (rice, wheat, maple syrup, lumber(?)) the 200 odd miles from Lake Champlain, VT to New York City, where it would be sold directly from the docked vessel. Where possible, back-haul commodities would be arranged to further cut overheads.

This plan cuts out middlefolk, and taps into several market cachets:

Organic Produce
The Locovore Movement
Historical Precedent / Romance of Sail
Low Carbon Footprint
Direct link between consumers and providers (F2F)

To work, the project must be accomplished on a small-scale, DIY basis by a network of farmers, builder/riggers, sailors, historians, educators and other interested parties. Construction, administration, operations and maintenance included.

The figures he'd found for more standard approaches to vessel construction or purchase hovered around the $1M mark, unreachably high. The TriloBoat approach -- forgive a proud godpoppa! -- sounded more like $15K; plus or minus depending on construction choices.

So Erik ran a successful Kickstarter campaign quickly raising construction funds. Just as important, he established partnerships with interested groups (the Willowell Foundation among them).

CERES (named after the Roman Goddess of Grain) was designed by Erik, generally following TriloBoat principles and using an Advanced Barge approach (profile and plan curves matched... a skosh more curvy than a straight box barge). While Erik has done much of the work himself, he's been joined by a fascinating stream of participants, helping at various stages.

CERES is 39ft long by 10ft, and will haul 12 ton of cargo. At this size, she is the maximum vessel in the least costly operational liscencing bracket.

She's laid out as a flush deck freighter with accommodations for working crew in house and fo'c'sle. She's rigged as a Thames sailing barge... sprit yawl with a mast that can be raised and lowered quickly with on-board gear. Traditionally, the sprit boom doubles as a cargo crane for longshore operations.

On Saturday 27 July 2013, CERES was launched into Lake Champlaign with all pertaining honors! Four and a half months after beginning construction, she is a flagged and documented vessel of the US Merchant Marine.

Several tasks await (seatrials and crew selection/training among them), and many details have yet to be worked out. But CERES, and the Vermont Sail Freight Project, are well under way!

And, as a byproduct of this slick business venture, the romance of sail rears its lovely head. In Erik's words:

Just speaking frankly and personally, the sight of Ceres gladdens the heart, in a way I suppose I hadn’t anticipated, and I think the other participants in this project feel the same way.  Much like when the local community gathered here on the farm to roll the barge over, we maybe doubted our combined strength, but stuck with the task, and in the end we all surprised ourselves with what we could do.

Congratulations and FAIR WINDS!!!



For more information, and how you can participate, see the following:

vermontsailfreightproject.wordpress.com (blog)
vermontsailfreightproject.org/design.html (about the design)
vermontsailfreightproject.org (worth looking around, if only for the great CAD art!)

Inner Space: Some Thoughts on Interior Design

The Church says: The body is a sin.

Science says: The body is a machine.

Advertising says: The body is a business.

The Body says: I am a fiesta!

Eduardo Galeano

Inner Space: Some Thoughts on Interior Design

Ergonomics is the art and science of fitting things to the human body. Tools, toys and the spaces we inhabit.

The science bit revolves around the facts of the human frame. About yeah tall; so wide; jointed here and there; bends this way, not that way.

Bunk lengths, seat and counter width, heights, depths and overhangs, lumbar curves (to backrests), headrooms – standing, seated or kneeling – all have generated more or less standard numbers, averaging human norms. Consider, however that plenty of folks don’t fit those norms, AND the norms change over time (we’re getting taller and wider!).

You can read this book  or visit this thread for more info, but the best way to get the numbers is to measure furnishings and spaces that you and yours find comfortable, then mock them up to work out the deets.

The art is harder to grasp. This is subjective, and a matter of abstracting the principles behind the kind of spaces that make you feel the way you wish to feel.

Art is complicated by compromise with other considerations. Love that rustic, raw wood look? Hard to clean. Stucco? Ditto. Porous surfaces can become mildew havens. Natural fibers go musty. Some of us prefer center cockpits dividing off a private, aft cabin… which must be heated, complicates steering arrangements and may require a dash through weather to reach head or galley. We all walk a line, balancing our tastes against the limits to how far we’d go to indulge them.

Here are some of the things I like and tend toward:

Contiguous, Open Space -- I personally like an open, expansive feel to my home environment.

Physical space allowances (legroom, elbow room, etc.) that don’t have one person violating the ‘personal space’ of the other call for long, hard thought. Seating should be amply wide, to accept however many persons sitting side-by-side. Opposed seats should be sufficiently far apart that footsie is voluntary. ‘Course, when I say should I mean do what you can.

Airspace (from the waist up) is important to me, and can offset a certain degree of physical constriction. To avoid that walls-closing-in feeling that many interiors produce, I avoid incursions and cut openings in barriers (such as bulkheads). Privacy can always be reestablished, if necessary, by curtains or other removable means.

Windows open the interior into the wider world and pierce the close embrace of the hull. I avoid center- or daggerboard trunks, which can divide the cabin spaces longitudinally. Likewise, I prefer not to have masts pierce the cabin spaces (split, cat rigs are arranged at the cabin ends). I like big cutouts in bulkheads, creating social spaces that join galley, salon and bunk areas. I tend to avoid enclosed spaces (head, pantry, wet locker, etc.) which break up the contiguous, open areas. If such things are included, they huddle at the extreme ends.

Galley at the Heart – A well fed crew is happy, warm, energetic and good to go. When guests are aboard, who wants to choose between cooking and visiting? The Galley, I believe, is best located between Cockpit and Salon (seating area), with good lines of sight between them. Handy to the cockpit for a mug-up; part of the party below-decks. We heat and cook with wood… a large cut-out in the Galley/Salon bulkhead permits radiant heat from the stove and further opens the space.

Pleasures of the Bunk – The Bunk isn’t just a hole to crawl into and collapse. It can extend the lounging/social space, and is often the scene of extended bouts of reading. It should be well ventilated, light, comfortable and airy as any other. It’s often a hotbed of sexuality… will it accommodate your passions or cramp your style? Can it be curtained off for privacy, when necessary? Does it have adequate and handy storage for clothing and personals? Can you sit up at night and check your anchor bearings without leaving covers’ warmth? Can you tumble out on short notice when the fewmets hit the windmill?

The Head, et al – Hmm. I’m a fan of Hereschoff’s cedar bucket – practical, compact, sanitary. But I acknowledge that the intimacy involved is not for everyone, and that at least token privacy is often preferred.

Okay. Our compromise (to be tried out in a future boat) is a semi-enclosed space in one corner of the galley. A section of counter spans the space when not in use, then flips up to join a partial bulkhead to wall off the forward face. A curtain may be drawn across the longitudinal opening for full privacy. Meanwhile, the outboard wall (outboard of the flip-up counter edge) accepts deck- and raingear, doubling as a wet-locker. This maintains good counter space, view from Galley windows and doesn’t crowd the airspace when not in use.

Multiple Function – It’s often possible to design components for multiple use, whether separately or together. A counter may double as workbench. Dinettes and setees may be made down into bunks.

A trick we used in LUNA (and will repeat in the next boat) was to make the adjacent Salon seat and Bunk heights at one level. With the dinette made down, a Salon soleboard could be raised to seat height, spanning the gangway and creating a large, level, workspace.

There is a caveat… we can get too clever for our own good! Finnicky transformations, or rickety results; a single contraption for simultaneous necessities; accommodating trivial or unnecessary functions… all of these can lead to frustration and clutter. Keep it Simple, Sailor!

So here’s a look at one of our preferred layouts, incorporating these ideas:

And here's how LUNA's interior looked:

View Aft from Salon to Galley

 

View Fwd from Salon to Bunk

*****

Interiors are very personal things. Your design will, at best, accommodate the way you live – your needs, patterns, tastes and social dynamics.They seldom can be considered to be entirely finished. Like us, they evolve over time. 

But a well considered start provides a solid foundation for a happy life aboard.

Buying Time

Einstein discovers that Time is, in fact, Money.
From Gary Larson's Far Side

Old Bureaucrat, my comrade, 

  it is not you who are to blame.

  No one ever helped you to escape.

You, like a termite,

  built your peace by blocking up with cement every chink and cranny 

through which any light might pierce.

You rolled yourself up into a ball 

  in your genteel security, 

  in routine, 

  in the stifling conventions of provincial life, 

  raising a modest rampart 

against the winds and the tides and the stars.

-- From Wind, Sand and Stars by Antoine de Saint Exupery

Buying Time

Free Time. Curious phrase! It can be taken so many ways. Time taken as a noun is not too mysterious, at least as applies to our daily lives. But Free???

If we take free as an adjective, Free Time could mean that time which is unassigned, uncommitted or otherwise unavailable. Time for play, rather than chores. Time for one's own purposes, rather than those of others. Time unencumbered. Time at liberty. Time of one's own, which need not be purchased. One's own sweet time.

Or we could take it for a verb, making the phrase an Imperative. Free Time! Free it from prison. From bondage. From slavery. From the clutches of evil-doers. From ourselves.

Ooo. That smarts.

As children, we knew naught of Time and therefore enjoyed its full measure. We were, then as now, alive as long as we could remember. The glorious Now was full upon us. And the future? Fabulous!

But somewhere along the line we began to lose our naive ignorance of Time. Somehow, Time went from endless, to finite, to being in short supply. Moment after moment was taken from us. Irrevocably lost to us. And who did this dirty deed? Oh, sure, the usual suspects -- parents, teachers, adults of various persuasions -- they all did their share.

But the sad truth is, we learned to do this to ourselves. To willingly trade the moments of our lives for luxury, security and status. Consumer goods.

Alright, then. We HAD to do it! We HAVE to survive in an economy where Time is Money! We NEED Money to live, and trade our lives for Money. Don't we???

How would Adam Smith see it?

We only get so much time. Ask just about any of our elders and you'll find that our time is far too short, even at the far end of a long life. Supply is therefore low. Demand is indefinite and varies in context, but is clearly high for most of us.

Ol' Adam says this makes our Time valuable to us.

To employers, our time looks very different. The system has been set up so we all need money, which means employment (time as person-hours). There's a lot of us, so their supply is high. They only need a few of us, so their demand is low. 

Generally speaking, our time - to them - is worth little.

Mmm. Bleak. And why sell our time to them, dimes on the dollar???

But trading time for money is not our only option. Once our necessities (water, food, shelter, health) have been met, we are able to Free Time! Free, as in the verb, the clarion call, the manifesto!! 

In Your Money or Your Life, Money is defined as life energy. We can't live without money at present, but we can earn and spend consciously. Once necessity is met, we can choose what is worth our Free Time -- our own, precious store of it -- and what is not.

*****

Anke and I invest Money we don't earn in Free Time. 

Together, we earn less than if one of us were employed, half-time, at minimum wage. This is plenty for necessities, with a healthy surplus for a little sugar 'n' spice. 

Our sustenance is bought (inexpensively) or foraged. Our DIY boats are shelter. Our health is good (part luck, part low-stress, active living). Our necessities are few and simply met. And our future? Fabulous!

The rest of our time is our own. Ours to invest in sweet time. Free time!

 

Bought and paid for.

Home, Home on the Ranges: Line of Sight Navigation

Rounding Point Brandt by Peter Quigley

 
Sailing is easy, so long as you remember that you're never going where you're pointed!
-- A. Cangiamilla

Home, Home on the Ranges: Line of Sight Navigation

Ranges are some of the most useful tools in a sailor's toolkit. They can tell us where we are, how we are moving over the water, and how we are moving in relation to other points of interest, whether fixed or moving. Crossed ranges provide fixes for ourselves or to locate hidden or hard to spot features.

We learn to navigate using ranges from the moment we begin to crawl. We learn without thinking to navigate our way through a door, rather than crashing into the wall on either side. Without a thought, we cross a stream of fellow pedestrians, performing complex calculations of velocity and trajectory. All below the level of awareness and all Line of Sight.


Sailing is far less complex, but we want to lift these skills into conscious awareness to navigate in an environment that seems less familiar.

Let's start with the useful distinction between our vessel's heading (where it's pointed) and its course (where it's actually traveling). As sailors, we must constantly remind ourselves that these two things are NOT the same. Currents, leeway and vector physics pull our course away from our heading... something that doesn't at all draw attention to itself. Ranges help us get a handle on how much they diverge and what to do about it.

The rowboat is HEADED to the right, while its COURSE angles down and across the current...
The Vector Velocities are extra credit.

In its broadest sense, a range is any line formed by two, observable points. If our eye falls along that line as a third point, the range is both a Line of Sight and Line of Position.

Points are usually fixed by some connection to terra firma. Coastal features such as mountains, points, capes, islands, rocks and even trees are fixed. Up close and personal, water disturbances from rock or reef are fixed. Navigational aids such as buoys, lights, daymarkers and such are fixed. Anchored moorings, pot markers and vessels are fixed.

Some points – vessels underway, gillnets, flotsam, whirlpools, whales – are moving. Range techniques are most useful when their course and speed are steady, but help provide info, even when not.


*****

Here's some of the fun we can have with ranges:


Fixes -- Where two or more ranges cross they establish a fix – a specific point at their intersection. The wider the angle between ranges, the more positive the fix (two at 90deg or three at 60deg are ideal, but not always available).

Fixes can be used to locate ourselves or any point 'out there', such as a shrimp pot or that one rock in the middle of a wide estuary.

We won't go into them deeply, here... just consider that, while fixes sound very precise, they are not. We use them as guides, but maintain skepticism in inverse proportion to our confidence in them, especially when they designate dangers.


Range Markers -- Common for navigating a narrow channel are range markers. These are two markers in line with a channel (safe passage portion). The further marker is higher than the nearer.

When your eye is on the Line of Sight which they establish, the one appears directly the other.

If  you stray to the left, they appear to go out-of-line, with the further (taller) one to the left of the nearer.

If you stray to the right, they appear to go out-of-line, with the further one to the right of the nearer.

Correcting your course until they come back in line, then running down that line has you following the safe passage portion of the channel. The line itself is invisible but the ranges guide you along it.


Danger and Safety Ranges – A danger range is a range that closely marks one edge of danger.

Let's say, on entering a cove, that a submerged reef lies 'somewhere' in the middle. If we can note two fixed features that identify one edge of the reach, we have a good idea where not to sail. We can approach that line, safely, but not touch it.

Better yet, a safety range will add a margin of safety to that edge. We  may safely sail to that line, but not across it. It tells us when to tack, or acts as a 'handrail' for sailing close by the danger.

Secondary ranges at near right angles to the channel fix the danger... they help us similarly to know when we are approaching or past the danger.

Both types of information, once identified, can be charted and logged. Consider describing and sketching the range features, as well as the danger they demark. The line itself can be penciled in on the chart for future reference, with features noted and the date (for log look-up).


Opening, Closing, Collision – Let's say we've got to round a point, ahead of us, and can see a fixed feature beyond it.

If we can see more and more of the background, we are opening the point, and will clear it safely (assuming conditions stay steady). If all we can see is a single point, beyond, the apparent gap between it and the point will increase, in this case. Fingers held upright at arms length are handy ways to measure the gap.

If we see less and less of the background (or the gap is narrowing), then we are closing the point. If we continue on this course, we will strike the land somewhere this side of the point. We must change our heading (and course) if we wish to clear.

If there is no apparent change between point and background (the gap is steady), then we are on a collision course with the tip of the point (that is, we're making a course straight for it). Consider changing heading to clear.

Magically (well, insofar as math and geometry are magic), this works even if the foreground feature is moving! If it is a boat, the same rules apply, though the terminology might change. A vessel opening against the background will pass aft of us (regardless of our respective speeds), one closing will pass ahead of us. If the background is steady, we are on a collision course and appropriate action should be taken.

Note that one needs review one's observations frequently. If wind, current, drift, course or speed change, so does the situation. This is especially important in crossing situations with another vessel.


Finding the Course Line – Let's say we're crossing a Strait, heading for that cozy cove on the far side. How we doing? We look for our course line to see whither we're actually faring. Scan the far shore for foreground/background features which stay in line (neither apparently moving in relation to the other). A good choice might be remarkable trees or bolders at beach level vs. trees or notches in the ridge above (and behind) them. Got it? That's our course, the line we're travelling along. Features to one side of that line will be opening, and closing to the other. We're on a collision course with the shore along the course line. If happy, carry on. If not, take corrective action.

This technique is especially important in strong currents. They can make course and heading diverge wildly, and it can be of utmost importance to determine the actual course.

In very strong currents, consider the advice to swimmers caught in one... swim (or sail) at right angles to the current. This puts your full force into positioning, rather than either fighting the current or correcting slowly with it.

In zero wind, strong current situations, we find that drifting broadsides with the current with an oar over the side, we can give a lazy sweep forward or back for positioning, and let the water do the work.


Night Ranges – At night, many of the main features of the coast disappear, leaving only broad silhouettes. Foreground and background disappear, for the most part, and must be inferred (the exception being from lit navigational aids). Still, much can be inferred...

When coursing along a strait, a topographical atlas (for example, the Gazeteers available for every state) helps identify the valleys (and sometimes ridges) that empty into the strait. As one runs along, the valley is, as we approach, occluded (can't see up it, but only across its opening, which remains lost in darkness). As we draw abeam, however, the valley opens visibly, providing a range along its approximate midline. As we pass, it closes behind us. This lets us monitor our progress along the strait.

Often, we sail an offset course for the inside of an unseen point we wish to round. Eventually, the background closes behind it, and the point  stands out against the lighter sky. From there we can proceed visually, relative to its silhouette.

*****

This is just the bare bones of what can be done with ranges. As you use them, they will suggest other fun and useful applications. They definitely take a lot of the guesswork out of gliding over liquid surfaces!

The inside passages of Cascadia – roughly stretching from Puget Sound, in northwest Washington, to Skagway, in Southeast Alaska – are rich in salient features. Plenty of fodder for Line of Sight navigation.

Anke and I find that this accounts for probably 99% of all the navigation we do. Speed, Time, Distance calculations rarely work out for the engineless in these flukey, current riddled waters.  Compass navigation is rarely necessary, and is complicated by large, deviant areas. Depth contours are only useful where we're not sailing over inland abyss (I suppose we could break down and get an electronic depth sounder).

You could say Line of Sight navigation is lax and lackadaisical... yet, in our range, it doth suffice!

Phil Bolger: In Memoriam

 

Susanne Altenburger and Phil Bolger

 “Any fool can make something complicated. It takes a genius to make it simple.”

― Woody Guthrie

“If you knew how much work went into it, you wouldn't call it genius. ”

― Michelangelo Buonarroti

Phillip C. Bolger: In Memorium

While I never met Phil and we only exchanged a couple of letters, I loved the man.

To me he is a font of ingenuity and inspiration. His love of KISS sailing and ultra-shoal draft inspired and informed my own.

I've heard him called arrogant, an iconoclast, lacking in aesthetics... I beg to differ. Folks of this persuasion have only usually  been exposed to some narrow slice of his extraordinarily rich spectrum. Taste a wider swathe, and one can't fail to see the humorful humility, reverence for tradition and passion for beauty that Phil personified.

That, and they have perhaps failed to adjust their reaction for EastCoast / Gloucester cultural modes of expression. Opinions are expressed forefully, in these parts. Phil had no more penetrating critic than himself, and he often turned his wry (Gloucesterian) humor on himself and his own works.

I'll also add that, while I'm writing solely of Phil, here, I'm thinking as well of his partner, Susanne Altenburger whom we had the pleasure to meet in 2012. She and Phil collaborated in his latter years and has earned much of the praise I'll be heaping, here.

*****

Phil's Square Boats garnered Phil derision and dismissal form traditionalists. In them he is like the first, classically trained painters exploring Cubist expression... vessels such as YARROW and ROSE and even the GLOUCESTER GULL attest to his mastery of traditional virtues, while his 'Cubist' vessels are works of ground-breaking genius.


Yarn 1:

Father/Daughter friends of ours built a Bolger BRICK (shaped about as it sounds). They brought it out to Tenakee, AK for a messabout. All day, they sailed circles around the rest of us, including respected designs of similar size by Devlin, Hess and a TORO!

Later, back East, our friend rowed up to the HMS ROSE (the Bolger tall ship used in the movie, Master and Commander). The Engineer (as it turns out) stuck his head over the side and began to run the BRICK and that Bolger down, down, down. Finally, my confused friend asked whether he was aware that HMS ROSE was herself a Bolger design? The poor man's still in therapy!

A picture was taken of the BRICK in HMS ROSE's foreground, and a T-shirt printed, captioned, "Which is the Bolger Boat?"


Yarn 2:

We launched ZOON (ex Bolger LONG MICRO) in Port Townsend, Washington during their annual Wooden Boat Festival.

Sailing forth, we trimmed in and picked up to a fast clip for our size.... woo hoo!  We soon zipped through a fleet of traditional yachts, glistening with varnish.

Among them, the ADVENTURESS -- one of the big schooners -- crossed tacks with us. Must've been a hundred or so people lining her rail, staring at us and... um... frowning.

But as she drew abreast, one guy in the middle hoists his fist and shouts, PHIL BOLGER FOREVER!!!  All heads snapped as one, as if choreographed, to this brave, lone soul.

We stood by for Man Over-Board! But fortunately, today's traditionalists are largely SNAGs (Sensitive New Age Guys/Gals), and he was spared.

*****

Phil's Works

Phil isn't one to let dogma (even his own!) get the upper hand, and he constantly reviewed, critiqued and expanded his ideas. He wrote many books containing complete designs, and articles -- many in the form of 'cartoons' (gedankenexperimenten, you might say) -- as well as a design portfolio in the neighborhood of eight hundred boats!

101 Small Boat Rigs stands out as an annotated survey for anyone contemplating a choice of rigging.

Boats with an Open Mind contains a broad range of Phil's later designs in which his concepts have been highly refined.

To get a glimps of the range of Phil's opus, check out Bruce Hallman's Facebook Page.

Bow Steering Keel Sharpie with Wheelchair Access

Technical Genius

How does one measure genius? Useful Innovation is a pretty good criterion.

Phil came up with a number of designs which combine more or less well known elements into revolutionary arrangements of high synergy. In other words, he gets these elements to work exceptionally well together with sum greater than parts. Many of these, in addition, incorporate entirely novel aspects.

The following represent what I feel to be Phil's Hall of Fame (a power boater might notice others I've missed):

Advanced Sharpie (AS) Concept -- I think of these as 'box sharpies'... they have rectangular sections which eliminate longitudinal bevels, simplifying construction immensely. Bottom and side curvature are matched in plan and profile view, reducing or eliminating cross-chine flow / turbulence, which in turn reduces drag. The bottom is carried well clear of the waterline, fore and aft; this reduces waterline length, when upright, for nimble tacks. As the hull heels, the waterline increases for higher hull speeds.

The AS concept -- incorportated in several of Phil's designs -- puts 'thoroughbred' performance in reach of the most ham-fisted builder!

To my mind, this approach improves on the intentions of the Herreschof MEADOWLARK, which was designed as a reasonably performing vessel in reach of the amateur builder. In comparison, AS hulls are much easier to build and perform better.

ST. VALERIE / VOLUNTEER Concept -- These designs feature a narrowish, rockered, plate bottom which can be built and armored with sheet materials. Sides are simple curves which may be simply built using, say, Reuel Parkers Quick- and New Cold-Molding approaches.

This approach benefits from flat and curvy advantages while keeping the latter in check.

ROMP / MANATEE Concept -- These are Curvy Dogs... rounded barge mid-sections drawn out to fine ends (as opposed to typically bluff barge ends). Ultra-shoal, very stable (a barge's form stability) and slippery fast (rounded chines and buttock lines).

In my opinion, as cruising hulls these eclipse the revered Monroe PRESTOs with increased stability and load-carrying capacity. Phil considered this type to be his successor to the Herreschoff MEADOWLARK, as a competent cruiser which could be built by amateurs.

I personally consider AS or VOLUNTEER types are even better candidates. But that's three Bolger upgrades to Herreshof's worthy goal!

BIRDWATCHER Concept -- In this type, the superstructure is composed largely of (plexi)glass and built water-tight to a midships, longitudinal gangway. This allows beam-ends knock-downs to be taken in stride, with self-righting by the crew from within the hull. Typically, such hulls can have little to no ballast, reducing overall weight for speed underway and trailering.

This concept has brought shelter, comfort and a quantum leap in safety to small, previously open cruisers. The approach may be applied to larger cruisers, as well.

Step-Sharpie Concept -- This approach stacks a wide sharpie hull over a narrow one (somewhat like a very wide, hollow keel). The lower hull acts as a cutwater, keel and provides headroom and storage.

Many have filled the lower space with battery banks to abet electric driven auxiliary power.

'Instant Boats' -- Collaborating with Dynamite Payson (Phil drew the designs; Dynamite prototyped them), he drew up a fleet of small boats requiring minimal lofting (plywood panel shapes are lofted directly on the material) and no jigs or molds (the frames and planking shape the boat).

Phil didn't like the term, but it did represent a big leap in construction ease. This has since become pretty much the norm for 'developed' hulls (made from sheet materials).

*****

HMS ROSE

Aesthetic Genius

Phil's aesthetics have been roundly derogated, in certain circles, and lauded to the skies in others.

There is common ground, however... I've yet to meet anyone who doesn't admire a GLOUCESTER GULL (the light, plywood rowing dory Phil considered his 'ticket to heaven'). At wooden boat festivals, YARROW draws appreciation from many who hold his square boats in contempt. And the HMS ROSE is, of course, a Hollywood Star.

Being a work-boat kind of a guy, the beauty of function appeals to me. Many of Phil's design aesthetics reflect the notion that handsome is as handsome does. When form fits function, I believe, a deeper beauty emerges, to which varnish and a 'sweet sheer' is only surface effect.

In my opinion, Phil mastered both aspects.

My Personal Debt

The first home we built was ZOON (AS19.5ft x 6.5ft x 10in), ex Phil's LONG MICRO. It was only s'posed to be a short-term, winter cruiser, but a long story moved us aboard for three happy years. Its simple lines gave us rank beginners the courage to build our own.

We liked the type so much, we drew up LUNA (AS31ft x 8ft x 1ft), which we built and lived aboard for twelve years. The AS hull concept gave us the courage to design our own.

My TRILOBYTE (T16x4) was based on the BIRDWATCHER concept, which adapted readily to a box-barge hull. This begat the line of TriloBoats, which also owes inspiration to AS concepts.

We've also built two GLOUCESTER GULLS and a NYMPH as tenders. We've used or adapted several of the concepts prominent in Phil's designs (right-angle construction, free-standing masts in tabernacles, sprit-boomed mizzens, boomkins, copper plate, large windows, parallel chine/sheer).

If this wasn't enough, my brother built SELKIE, ex MARTHA JANE, and my sister now owns THEGREATSEA, ex DOUBLE EAGLE. This doesn't even mention good times had aboard Phil's designs built by many other friends.

Fair Winds to a Friend

Toward the end, Phil felt his mind begin to slip. To one whose every waking moment was illuminated by intellect, this was intolerable, and he chose to lay down life by his own hand. Courageous and Libertarian to the end.

To me, Phil was a Mentor and Inspiration. In ways that are hard to express, I felt him to be a Friend. A fellow Wingnut in the Wide World of Boats. Someone I turn to with a problem, and find, if not an answer, at least an approach and the courage to attempt the solution.

Did I mention that I loved the man?

Might and Main: Tactics for Engine-Free Sailboats

 

Hear no Engine, See no Engine, Smell no Engine.

A sailor's task is to make his/her boat move.
-- Paraphrased from Tristan Jones

Might and Main: Tactics for Engine-Free Sailboats

OKAY. I ADMIT IT! Engines are pretty handy things!

At the same time, they're expensive, hungry, noisy, smelly, needy beasts with big feet. The effort they save in boat handling is offset by effort in labor (to pay for them, their accessories, parts and fuel). And yada, yada, yada... in our lives, we calculate the offset to represent a net loss.

When engines fail (as they do), many vessels feel themselves to be dead-in-the-water. I'm embarrassed (as a sailor) to hear Maydays from sailboats who've 'suffered' engine failure or run out of fuel. I'm concerned for power boaters -- many with zero-redundancy -- who find themselves helpless (at best) and/or endangered through lack of alternatives.

We're often asked if we don't want an engine for safety. Answer is No; we develop more power than we need under sail. We reef to dump power when things whump up. Otherwise, no emergency. Their one possible safety advantage would be for scampering into shelter in 'the calm that precedes the storm'. Still, in a third century practicing defensive sailing in the Pacific NW, we've never gotten caught out.

Engines answer three basic needs; propulsion, maneuvering and backing down to set anchor. If we're going to get around with out 'em, we have to find other ways to get along. None of these means are new, but have scattered and dimmed since the Age of Sail.

Propulsion

Sailboats come alive when the wind blows. Sailing techniques are well known and documented, even unto anchoring and approaching docks under sail. I'll only mention such techniques as seem less familiar, here.

Rowing / Sculling  -- On board we might have one or two oars over the side, or a sculling oar over the stern. These are big guys; stowage, deployment,  use and stowage again take crafty thought.

Two oars make for a 'sword-dance' of the cockpit, and resist quick set-up and take-down. One oar is better, but wants to turn the vessel, which tendency can by countered by rudder once steerageway is attained.

Sculling oars are effective, leave the cockpit relatively uncluttered and can be let go of without shipping (for sail-handling, say). They turn the boat effectively and work well in tight quarters.

Poling -- In shallow waters, the mighty pole can be used for propulsion, to force a tack, and even - with the fat end out - as an oar to supplement the main set. With a soft cover for the tip, it can fend off the fancyboats. With other, sleeved and fixed accessories, it could be a bladed oar, pike pole, crab rake, net, or ???

Kedging -- This is using anchors like hands to grab the bottom, and their rode like arms to pull us along.

To begin, set one anchor as close to your destination as possible in the circumstances, and lie to it on short scope. Row out a second anchor on a long rode, pulling the first as you pass it by. Repeat as often as necessary.

More complicated maneuvers can be executed (zigs and zags). 

In some cases, you might want to Kedge between two anchors for better control, buoying and slipping the one behind for later retrieval, or as a fixed point for your future exit.

Warping -- This is like Tarzan, swinging from vine to vine. Except we hang the vines and never let go! The vines, in our case, are lines, aka warps, when used in this manner.

With this technique, we move from one fixed point to another. Fix a line at the next reachable point (walk, throw or row it). Recover your last line and haul in on this one. Repeat.

Warping is handy for gusty approaches to a dock... anchor in clear water, close in, and then row a line over to the cleat, or merely throw it to a crew-member who's rowed in ahead. Consider a grapnel, to get a hold when short-handed.

Multiple lines can be used at once to control drift set or make turns, etc.. Take your time to work out a plan for your conditions, and make sure everyone understands what's to happen.

Kedging and Warping are often useful for wriggling deep into a harbor's dock/finger layout. Harbors are usually built on shallow, first class anchoring bottom. On occasion, you might want to trail a dredge to limit your swing in tight quarters. Be aware that lots of junk can accumulate on the bottoms of some harbors. Often the Harbormaster can advise you, ahead of time.

Yawl-Boating -- In this method, the tender (aka 'yawl-boat') is used to tow, push with its bow, or tie alongside (use good springlines!) to transfer thrust to our cruiser. This method is still used by many schooners of the Northeast coasts.

The tender can be equipped with an engine. It has power for long runs away from an anchorage, while a sailboat proper will function better without engine accommodations and prop drag. The combination is perhaps not quite as turn-key, but more versatile.

Pedal Power -- Various units can use your strong leg muscles to move faster than arm powered oar/scull speed. They take up space and don't have that righteous, organic feel, but we like it well enough.

Two commercial systems that intrigue are the Sea-Cycle Drive Unit and the Hobie Mirage Drive.

Maneuvering

Sailing Backwards -- Reverse is very handy for coming out of irons, fine-tuning anchor drops, positioning in current-against-headwind, slowing in a headwind (beating into a slip, say)... even parallel parking,

The basic method is to back a sail. Headsails (the well known method) affect the bow, while Aftsails affect the stern... by manipulating them, we can spin a vessel around her CLR (Center of Lateral Resistance). The farther ahead or abaft a sail's CE (Center of Effort), relative to the CLR, the more effectively it can be used for spinning the boat.

A fine point to keep in mind is that a backed sail can be trimmed to the wind -- just as if it were sailing forward -- for optimal effect. Consider where its force vectors point to get a better picture of cause and effect.

The rudder, too, is used in backing down; it pushes the stern one way or the other (reversed from forward operation), and still needs steerageway to be effective. Pump it at stand-still, if necessary.

Ketches, Yawls and the odd three+masted Schooner  facilitate sailing backwards, and maneuvering in general.  Each has a sail set well aft of the CLR (the point around which a vessel spins). It can be backed from the cockpit all the way to the beam (hard to do with a headsail). With an extra person, both fore and aft sails can be backed opposite one another to spin the boat on a dime.

If not wishing to fall off, alternate sides to keep the vessel fairly close to head-to-wind. Once you fall beam-to, steerage-way is lost and hull windage picks up to the point that recovery takes (possibly) valuable time. Or, if you've got an after sail, sheet it tight (to keep head to wind) and back a headsail. On many vessels, it's almost impossible to fall far off the wind with a strapped in aftersail.

Crabbing -- Similar to sailing backwards, but more sideways. Can be used for veering out a second anchor and positioning. Sails are backed opposite where you wish to go. At anchor, you'll crab out along your swing radius, while when sailing free, you'll crab aft and over. Watch your ranges to keep track of progress.

Sheering -- Similar to Crabbing, but uses current instead of wind. Use any tool (sails, rudder, pole, oars, tender) to cock the hull to the current. If you've got the power to match the current, you will sheer sideways; with less, you will sheer aft and across.

Note that a rudder often develops steerage-way in a current, so long as you are moving relative to the water. A following or headwind (back the rudder in this case), anchor, or propulsion can provide this relative motion.

This technique may be useful at anchor. One night we'd managed to sound in several reassuring pot-holes before anchoring along the edge of a high current channel. We woke at low tide, cheek on jowl with a long reef!. By cocking the rudder (which has steerageway when anchored in a current) and letting the rode run from mid-ships (to control angle of hull), we sheered away from the reef to deeper water (where we dropped a second, swing limiting anchor).

Lee Bowing -- Here, one tacks across a current running from the lee side. Current counters leeway, while sheer effect increases drive at right angles to the current. Used strategically (often timed for tidal currents) it can shave many's the mile from a traverse.

Dredging -- This is adapted from a technique used by (at least) Thames Barge sailors. To slow down on a down-wind approach, a shot of chain is payed out over the stern, which drags along the bottom. Drag is adjusted by more or less chain. The real deal used an iron sled (the dredge) at the end.

The advantage is that a (time consuming) reef may be avoided, and more sail power is available for maneuvers, should they become necessary.

Anchoring

Classic Set -- Sail or scull up to the drop point, rounding into the wind. Drop. Fall back paying out rode and make fast at desired scope (adjusted upward for tide range).

Problem is, a snug harbor will seldom have enough wind/current to provide enough force to set the anchor firmly. So we tend to use a disreputable method...

Downwind Set -- Run down on the drop point. Drop. Turn up about 10deg (as if the boat were a cleat for the rode) while paying out rode (in clear water, you can see it paying out to one side). Make fast on long scope. DOINK (sudden, lurching stop and/or round-up)! Pull back to desired scope.

The 10deg angle delivers a goodly amount of force to anchor, while safely dumping any excess with a quick round-up. In strong conditions, this can be dramatic, so hang on! Wider angles dump more force, while an in-line DOINK (for light conditions) sends everything available to the anchor. Consider adjusting according to conditions.

The idea, here, is to get the boat moving -- if no wind, row, tow, etc. -- and use its inertia to set the anchor at the DOINK-point (for a preddygooddoink). Unfortunately, in light or no wind, sculling in high gear is a tough slog. A mushy doink means consider reset.

CAUTION: In-line, downwind sets can be positively dangerous at high speed-over-the-ground, which has given this useful technique a bad name. We use the verbal caution, "StandyBy for RoundUp!" to remind crew to hold tight.

Jerk Set --  Fall back on the anchor rode. Pull like crazy until the line comes taut -- you may have to repeat this a few times until the rode straightens out -- then give it several, hard jerks. If it skips and jumps (you'll feel it through the line), reset / retry / combine techniques until satisfied.

Here, we're trying to use the at-rest inertia of the boat to pull against the anchor. If you haul line too slowly or jerk too often, the boat accelerates toward the anchor and reduces the force you exert on it. In no wind/current you get one, smooth shot at this. Otherwise, just fall back and try again.

Consider rechecking holding if and when a wind or current arises.

Two Anchor Set -- This is the most reliable, and I recommend it if you think the holding's iffy.

Drop two anchors in a line oriented across expected conditions, pull to the middle and set them against one another. If you're hauling in line, at least one is dragging (feel each line while pulling to determine which... you can feel it skipping). If necessary, pull the laggard and reset until both are holding fast.

Once set, one anchor can be retrieved, or we can sit in the middle (limits swing radius) or fall back to V out our rodes on long scope (for a big blow).

Consider that both rodes need adequate scope. If one is short, make sure the other is set against expected trouble.

Pulling the Anchor -- If an anchor gets stuck, it may be sailed out, hauled out with mechanical advantage (using onboard gear such as winches, haulyards, etc.) or pulled with the tide. This last is slow, but mighty powerful... consider tying on with a tow-boat hitch, in case your deck starts to pop before the anchor pulls!

*****

So that's a pretty versatile set. They can be combined, and often are. They work well, and aren't prone to failure at a critical moment (do take care that your anchors are set, however). They layer redundancy for 'safety-in-depth'. All of the gear is likely on board already, or useful to acquire.

What's not to like?