boat school

WoodenBoat School Campus

Our Working Waterfront Mountain Ash Student House Farmhouse Student Housing

WoodenBoat School Workshops

Magazine

Store Show

For over 37 years WoodenBoat magazine has inspired its readers with boat-building projects, tips and techniques, technologies, history, product and book reviews, design commentary, and more. The magazine’s editorial and business of�ces are located on the same grounds as WoodenBoat School, allowing an easy exchange between the magazine’s editors, the school’s students and instructors. In fact, many instructors take time from their busy shcedules to write for the magazine, and occasionally a school project is featured in WoodenBoat as a how-to-build article. A one-year subscription (six issues) to WoodenBoat costs $32.00 in the U.S.

TO ORDER, CALL 1-800-877-5284or visit our website where you can subscribe online.WWW.WOODENBOAT.COM

While you’re taking classes here in Brooklin, stop in at The WoodenBoat Store, right across from the Shop.

Open Monday-Friday, 7:30am to 6:00pm, and Saturdays 9:00am to 5:00pm. We carry books, boatbuild-ing plans, half-hull model plans, WoodenBoat caps, T-shirts, tools, and great gift-type items... should you want to bring home something for your signi�cant other who was so nice about you playing with boats for a couple of weeks. AND, even though we are in the wilds of Maine, you can stay con-nected, as we are THE hot-spot, so bring your laptop with wireless access and you can email pictures home of your class. It’s HOT all night long, so you can sit out on the Store porch after dinner and surf to your heart’s content.

Be sure to join us again in Mystic Seaport, Mystic, Connecticut for our 22nd Annual WoodenBoat Show. Step aboard beauti-ful wooden boats large and small, watch demonstrations by expert craftsmen, dream about your next boat. In the words of one show attendee: “The boats were so beautiful, I almost walked off the end of the dock!”

June 28-30, 2013Mystic Seaport in Mystic, Connecticut

Presented and Produced by WoodenBoat Magazine and hosted by Mystic Seaport.

Magazine magazine has inspired its readers with boat-

book reviews, design commentary, and more. The magazine’s editorial and

OR CURRENT RESIDENT

PRSRT STDU.S. Postage

PAIDPermit #30

Farmington, ME

PRSRT STD

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WoodenBoat SchoolP.O. Box 78, 41 WoodenBoat Ln., Brooklin, Maine 04616 USA

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2013

WoodenBoatSchool




Magazine

Store Show

For over 37 years WoodenBoat magazine has inspired its readers with boat-building projects, tips and techniques, technologies, history, product and book reviews, design commentary, and more. The magazine’s editorial and business offices are located on the same grounds as WoodenBoat School, allowing an easy exchange between the magazine’s editors, the school’s students and instructors. In fact, many instructors take time from their busy shcedules to write for the magazine, and occasionally a school project is featured in WoodenBoat as a how-to-build article. A one-year subscription (six issues) to WoodenBoat costs $32.00 in the U.S.



Open Monday-Friday, 7:30am to 6:00pm, and Saturdays 9:00am to 5:00pm. We carry books, boatbuild-ing plans, half-hull model plans, WoodenBoat caps, T-shirts, tools, and great gift-type items... should you want to bring home something for your significant other who was so nice about you playing with boats for a couple of weeks. AND, even though we are in the wilds of Maine, you can stay con-nected, as we are THE hot-spot, so bring your laptop with wireless access and you can email pictures home of your class. It’s HOT all night long, so you can sit out on the Store porch after dinner and surf to your heart’s content.




OR CURRENT RESIDENT


PAIDPermit #30

Farmington, ME


Access ToExperience

2013

WoodenBoatSchool

WOODENBOAT SCHOOLPO Box 78, 41 WoodenBoat Lane, Brooklin, Maine 04616-0078(207) 359-4651 Fax: (207) 359-8920 www.woodenboat.comPlease register by phone, mail, or fax. NOT BY E-MAIL.

NAME

ADDRESS

CITY / STATE / ZIP

TELEPHONE: DAY EVENING

E-MAIL

DATE OF BIRTH FEMALE MALE

OCCUPATION

EMERGENCY CONTACT

ADDRESS

CITY / STATE / ZIP


METHOD OF PAYMENT CHECK VISA MC DISCOVER AMEX

CARD NUMBER

EXPIRATION DATE 3-DIGIT CODE ON BACK OF CARD

SIGNATURE (I understand the conditions for refunds) DATE

ALUMNI YES NO

SIGNATURE DATE

Desired Courses Date Tuition

Total Tuition

Room & Board (course weeks x $481.50)

Campsite and/or Board Only (see page 56)

Total Material Costs

TOTAL COSTS

Deposit Enclosed (one-half of total)

Balance Due (one month before course begins)

Lodging / Meal prices include 7% tax where applicable

Material prices include 5% tax where applicable

HOW DID YOU FIND OUT ABOUT US?

Please describe any previous experience that relates to the course(s) you wish to attend. What do you expect to gain from the course, and how do you intend to use it? (Feel free to use additional paper).

(I authorize the balance due to be charged to the above credit card one month before class begins)

2013ApplicationAUGUSTJULYJUNEMAY

2013 Schedule at a Glance

11 – 177 – 13 4 – 1030 – 6 28 – 323 – 292 – 8 21 – 2716 – 2219–25 / 26–1 14 – 209 – 15

Making Friends with Your Marine Diesel Engine

with Jon Bardo

Carving Waterfowl with Jerry Cumbo

Marine Painting & Varnishing

with Gary Lowell

Boat Cabinetry with Dave Merrifield

Elements of Seamanship with Jane Ahlfeld &

Annie Nixon

Sailing Traditional Daysailers & Beach Cruisers with

Al Fletcher & Mike O’Brien

Fundamentals of Boatbuilding with Warren Barker

Building Half Models with Mark Sutherland

What Shape Is She In with David Wyman

Lofting with Greg Rössel

The Art of Scrimshaw with Ron Newton

Coastwise Navigation with Jane Ahlfeld

Build Your Own Shearwater Sport Kayak

with Eric Schade

Metal Working for the Boatbuilder & Woodworker

with Erica Moody

Elements of Seamanship with Martin Gardner &

Sue LaVoie

Bronze Casting for Boatbuilders

with Sam Johnson

Fine Strip-Planked Boat Construction with Nick Schade

Elements of Seamanship with David Bill &

Dave Gentry


Sue LaVoie

Craft of Sail on TAMMY NOIRE with Joel Roland

Craft of Sail on SOPHIA with Phillip LaFrance

Craft of Sail II with David Bill

Recreational Paddling with Mike O’Brien

Build Your Own Northeaster Dory with David Fawley

Knowing Your Boat with Hans Vierthaler

Tallship Sailing and Seamanship with Capt.

Barry King & Jane Ahlfeld

Elements of Coastal Kayaking with Bill Thomas

Introduction to Boatbuilding

with Bill Thomas

Finishing Out Small Boats

with John Brooks

Stitch-and-Glue Boatbuilding

with John Harris

Essentials of Fine Woodworking

with Janet Collins

Elements of Boat Design

with John Brooks

The Marlinespike Sailor with Tim Whitten

The Catboat with Martin Gardner

Build Your Own Greenland-Style Kayak

with Mark Kaufman

Fundamentals of Boatbuilding with Wade Smith

Fundamentals of Boatbuilding with Greg Rössel

Wooden Boat Restoration Methods with Walt Ansel

Blacksmithing for Boatbuilders

with Doug Wilson

Boatbuilder’s Hand Tools

with Harry Bryan

Glued-Lapstrake Plywood Construction

with John Brooks

Making Wood Tools with John Wilson


Annie Nixon

Rigging with Myles Thurlow

Craft of Sail on BELFORD GRAY with David Bill

Traditional Wood-and- Canvas Canoe Construction

with Rollin Thurlow

Building the Penobscot 13 with Arch Davis

Building the Arctic Tern with Geoff Kerr

Build Your Own Bronze Salute Cannon with Duke McGuiggan

& Michael Caldwell

The Art of Woodcuts with Gene Shaw

Elements of Seamanship II with Martin Gardner &

Robin Lincoln

Build Your Own Shellback Dinghy or Nutshell Pram

with Jeremy Gage

Inspecting Fiberglass Boats

with Sue Canfield

Woodcarving with Reed Hayden

Seascape/Landscape in Watercolor with Phil Steel

Coastal Touring & Camping

with Bill Thomas

Elements of Seamanship for Women with Jane

Ahlfeld & Gretchen Snyder

Sailing Downeast with Andy Oldman

Painting the Downeast Coast in Oils

with Jerry Rose

Island Exploration & Seamanship

with Andy Oldman

Craft of Sail on TAMMY NOIRE with Joel Roland

Craft of Sail on ABIGAIL with Hans Vierthaler

Coastal Cruising Seamanship on ABIGAIL

with Hans Veirthaler


SEAMANSHIPCOASTAL CRUISING SEAMANSHIP—pg 10A week’s education under sail.On board ABIGAIL

Hans Vierthaler—July 14–20, September 1–7COASTWISE NAVIGATION—pg 7Knowing where you are on the water.

Jane Ahlfeld—June 16–22CRAFT OF SAIL—pg 8Learn and enjoy big-boat sailing with a master.On board the 40’ Sloop TAMMY NOIRE

Joel Rowland—July 7–13, July 14–20On board the 39’ Ketch ABIGAIL

Hans Vierthaler—July 21–27On board the 28’ Friendship Sloop BELFORD GRAY

David Bill—July 28–August 3On board the 38’ C/B Yawl SOPHIA

Phillip LaFrance—August 11–17, September 1–7On board the 39’ Yawl MISTY

Queene Foster—August 18–24, August 25–31CRAFT OF SAIL II—pg 8A better understanding of your boat and her environment.On board a variety of boats

David Bill —August 4–10CRUISING THROUGH THE WATCHES—pg 10Voyaging safely and confidently under sail.On board ABIGAIL

Hans Vierthaler —August 18-24 ELEMENTS OF SEAMANSHIP—pg 4Learn-to-sail courses that emphasize seamanship, instill confidence, and are fun.

ELEMENTS IJane Ahlfeld & Annie Nixon—June 23–29, June 30–July 6Martin Gardner & Sue La Voie— July 7–13, July 14–20Jane Ahlfeld & Gretchen Snyder—August 4–10 (for women only)David Bill & Dave Gentry—August 11–17ELEMENTS IIMartin Gardner & Robin Lincoln—July 21–27Martin Gardner & Dave Gentry—August 18–24

ISLAND EXPLORATION AND SEAMANSHIP—pg 6Exploring and using the Maine Island Trail Association (MITA) islands.On board PATIENCE B

Andy Oldman—July 21–27KNOWING YOUR BOAT—pg 7 Do-it-yourself maintenance vs. hiring a professional.

Hans Vierthaler—August 11–17SAILING DOWNEAST—pg 11 Exploring the Great Wass and Roque Island Archipelagoes.On board PATIENCE B

Andy Oldman—July 28–August 3

SAILING TRADITIONAL DAYSAILERS AND BEACH CRUISERS—pg 5The skill of handling these able, striking, and affordable small craft.

Al Fletcher & Mike O’Brien—July 28–August 3 SEA SENSE UNDER SAIL—pg 8 Experience the true joy of sailing with a lifelong sailor.On board the 50’ gaff-rigged sloop VELA

Havilah Hawkins—September 8–14, September 15–21SMALL BOAT VOYAGING—pg 6Competency, safety, and practical on-the-water skills.

Jane Ahlfeld & Bill Thomas—September 1–7TALLSHIP SAILING AND SEAMANSHIP—pg 11Learn numerous skills and sail handling aboard the schooner MARY DAY.

Capt. Barry King & Jane Ahlfeld—August 11–17THE CATBOAT—pg 5 The pleasures of a distinct American sailing craft.

Martin Gardner—August 11–17THE PLEASURE OF SEA KAYAKING—pg 12

ADVANCED COASTAL KAYAKINGStan Wass—September 1–7COASTAL TOURING & CAMPINGBill Thomas—July 28–August 3ELEMENTS OF COASTAL KAYAKINGBill Thomas—June 14–20, August 4–10Mike O’Brien—August 25–31 (age 50 and over)RECREATIONAL KAYAKINGMike O’Brien—August 11–17

BOATBUILDING &WOODWORKINGADVANCED FUNDAMENTALS OF BOATBUILDING—pg 14Taking it one step further.

Greg Rössel—September 1–14BOATBUILDING AND WOODWORKING JIGS—pg 20Designing and creating useful jigs and boatbuilding aids.

John Brooks—September 15–21 BOATBUILDER’S HAND TOOLS—pg 21Making, restoring, and using traditional tools of the trade.

Harry Bryan—June 9–15

BOAT CABINETRY—pg 21Practical guidance on the planning and constructing of interior joinery.

Dave Merrifield—July 28–August 3 BUILDING A DORY—pg 16Traditional workboat construction with a master shipwright.

Walt Ansel—September 8–14 BUILDING HALF MODELS—pg 25 The practice and pleasure of carving half-hull models.

Mark Sutherland—July 14–20Eric Dow—September 22–28

BUILDING THE ADIRONDACK GUIDEBOAT—pg 18Lore, legend, use, and construction of a classic small craft.

Geoff Burke—August 18–31 BUILDING THE ARCTIC TERN—pg 17Epoxy-glued lapstrake plywood construction of a new Iain Oughtred design.

Geoff Kerr—July 28–August 10 BUILDING THE PENOBSCOT 13—pg 17Glued lapstrake construction of a beautiful plywood daysailer.

Arch Davis—August 4–17 BUILD YOUR OWN ANNAPOLIS WHERRY—pg 27Experience the ultimate in a recreational, open water pulling boat.

Geoff Kerr—September 15–21BUILD YOUR OWN BRONZE SALUTE CANNON—pg 25Work alongside two master machinists.

Michael Caldwell & Duke McGuiggan—July 28–August 3BUILD YOUR GREENLAND-STYLE KAYAK—pg 26A wonderfully simple and affordable boatbuilding project. Ideal to do with a partner

Mark Kaufman—June 23–29 BUILD YOUR OWN NORTHEASTER DORY—pg 28The elegance of a traditional workboat in stitch-and-glue construction.

David Fawley—August 11–17 BUILD YOUR OWN PLANK CONSTRUCTED POND YACHTS—pg 24Build Iduna, a vintage Marblehead-class pond yacht designed for radio-control.

Thom McLaughlin—September 1–7

BUILD YOUR OWN SHEARWATER SPORT KAYAK—pg 29A versatile, durable, easy-to-build kayak designed for both the recreational and serious kayaker.

Eric Schade—July 14–20BUILD YOUR OWN SHELLBACK DINGHY OR NUTSHELL PRAM—pg 27Build the ideal dinghy in one busy, satisfying, and fun week.

Jeremy Gage—July 21–27BUILD YOUR OWN SASSAFRAS CANOE—pg 28LapStitch construction of a lovely 12’ solo or 16’ tandem ultralight double-paddle canoe.

John Harris—August 18–24BUILD YOUR OWN WILLOW/QUICKBEAM SEA KAYAK—pg 26Two easy-to-build, all-purpose stitch-and-glue sea kayaks.

Bill Thomas—September 8–14CARVING WATERFOWL—pg 30Learn shallow relief carving along with decorative decoy techniques.

Jerry Cumbo—June 2–8ELEMENTS OF BOAT DESIGN—pg 15Learn the principles and process–then practice on your own design.

John Brooks—August 11–17ESSENTIALS OF FINE WOODWORKING—pg 31Building a dovetailed tool or utility box.

Janet Collins—August 11–17FINE STRIP-PLANKED BOAT CONSTRUCTION—pg 22A guide to building small boats with wood strips and epoxy.

Nick Schade—July 7–13, August 25–31

FINISHING OUT SMALL BOATS—pg 19Creating neat woodwork and joinerwork.

John Brooks—June 16–22 FUNDAMENTALS OF BOATBUILDING—pg 14The theory and practice of classical boatbuilding.

Greg Rössel—June 2–15, June 30–July 13Wade Smith—June 16–29, September 15–28Warren Barker—July 14–27

GLUED-LAPSTRAKE PLYWOOD CONSTRUCTION—pg 19Build ELLEN and a Sundog Skiff —versatile, agile 12’ sailing and rowing dinghies.

John Brooks—June 9–15INTRODUCTION TO BOATBUILDING—pg 16A one-week primer on building small boats.

Bill Thomas—June 16–22John Karbott—August 18–24

LOFTING—pg 15Making sense of all those lines and numbers.

Greg Rössel—June 23–29, August 25–31MAKING WOOD TOOLS—pg 20The art of making traditional woodworking tools.

John Wilson—June 30–July 6


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WOODENBOAT SCHOOLPO Box 78, 41 WoodenBoat Lane, Brooklin, Maine 04616-0078(207) 359-4651 Fax: (207) 359-8920 www.woodenboat.comPlease register by phone, mail, or fax. NOT BY E-MAIL.

NAME

ADDRESS

CITY / STATE / ZIP


E-MAIL

DATE OF BIRTH FEMALE MALE

OCCUPATION

EMERGENCY CONTACT

ADDRESS

CITY / STATE / ZIP


METHOD OF PAYMENT CHECK VISA MC DISCOVER AMEX

CARD NUMBER

EXPIRATION DATE 3-DIGIT CODE ON BACK OF CARD

SIGNATURE (I understand the conditions for refunds) DATE

ALUMNI YES NO

SIGNATURE DATE

Desired Courses Date Tuition

Total Tuition

Room & Board (course weeks x $481.50)

Campsite and/or Board Only (see page 56)

Total Material Costs

TOTAL COSTS

Deposit Enclosed (one-half of total)

Balance Due (one month before course begins)

Lodging / Meal prices include 7% tax where applicable

Material prices include 5% tax where applicable

HOW DID YOU FIND OUT ABOUT US?

Please describe any previous experience that relates to the course(s) you wish to attend. What do you expect to gain from the course, and how do you intend to use it? (Feel free to use additional paper).

(I authorize the balance due to be charged to the above credit card one month before class begins)

2013ApplicationAUGUSTJULYJUNEMAY

2013 Schedule at a Glance

11 – 177 – 13 4 – 1030 – 6 28 – 323 – 292 – 8 21 – 2716 – 2219–25 / 26–1 14 – 209 – 15


with Jon Bardo

Carving Waterfowl with Jerry Cumbo

Marine Painting & Varnishing

with Gary Lowell

Boat Cabinetry with Dave Merri�eld


Annie Nixon

Sailing Traditional Daysailers & Beach Cruisers with

Al Fletcher & Mike O’Brien

Fundamentals of Boatbuilding with Warren Barker

Building Half Models with Mark Sutherland

What Shape Is She In with David Wyman


The Art of Scrimshaw with Ron Newton

Coastwise Navigation with Jane Ahlfeld

Build Your Own Shearwater Sport Kayak

with Eric Schade

Metal Working for the Boatbuilder & Woodworker

with Erica Moody


Sue LaVoie

Bronze Casting for Boatbuilders

with Sam Johnson


Elements of Seamanship with David Bill &

Dave Gentry


Sue LaVoie

Craft of Sail on TAMMY NORIE with Joel Roland


Craft of Sail II with David Bill

Recreational Paddling with Mike O’Brien

Build Your Own Northeaster Dory with David Fawley

Knowing Your Boat with Hans Vierthaler

Tallship Sailing and Seamanship with Capt.

Barry King & Jane Ahlfeld



with Bill Thomas

Finishing Out Small Boats

with John Brooks

Stitch-and-Glue Boatbuilding

with John Harris

Essentials of Fine Woodworking

with Janet Collins

Elements of Boat Design

with John Brooks

The Marlinespike Sailor with Tim Whitten

The Catboat with Martin Gardner

Build Your Own Greenland-Style Kayak

with Mark Kaufman



Wooden Boat Restoration Methods with Walt Ansel

Blacksmithing for Boatbuilders

with Doug Wilson

Boatbuilder’s Hand Tools

with Harry Bryan

Glued-Lapstrake Plywood Construction

with John Brooks

Making Wood Tools with John Wilson


Annie Nixon

Rigging with Myles Thurlow

Craft of Sail on BELFORD GRAY with David Bill

Traditional Wood-and- Canvas Canoe Construction

with Rollin Thurlow

Building the Penobscot 13 with Arch Davis

Building the Arctic Tern with Geo� Kerr

Build Your Own Bronze Salute Cannon with Duke McGuiggan

& Michael Caldwell

The Art of Woodcuts with Gene Shaw


Robin Lincoln

Build Your Own Shellback Dinghy or Nutshell Pram

with Jeremy Gage

Inspecting Fiberglass Boats

with Sue Can�eld

Woodcarving with Reed Hayden

Seascape/Landscape in Watercolor with Phil Steel

Coastal Touring & Camping

with Bill Thomas

Elements of Seamanship for Women with Jane

Ahlfeld & Gretchen Snyder

Sailing Downeast with Andy Oldman

Painting the Downeast Coast in Oils

with Jerry Rose

Island Exploration & Seamanship

with Andy Oldman

Craft of Sail on TAMMY NORIE with Joel Roland

Craft of Sail on ABIGAIL with Hans Vierthaler




SEAMANSHIPCOASTAL CRUISING SEAMANSHIP—pg 10A week’s education under sail.On board ABIGAIL

Hans Vierthaler—July 14–20, September 1–7COASTWISE NAVIGATION—pg 7Knowing where you are on the water.

Jane Ahlfeld—June 16–22CRAFT OF SAIL—pg 8Learn and enjoy big-boat sailing with a master.On board the 40’ Sloop TAMMY NORIE

Joel Rowland—July 7–13, July 14–20On board the 39’ Ketch ABIGAIL

Hans Vierthaler—July 21–27On board the 28’ Friendship Sloop BELFORD GRAY

David Bill—July 28–August 3On board the 38’ C/B Yawl SOPHIA

Phillip LaFrance—August 11–17, September 1–7On board the 39’ Yawl MISTY

Queene Foster—August 18–24, August 25–31CRAFT OF SAIL II—pg 8A better understanding of your boat and her environment.On board a variety of boats

David Bill —August 4–10CRUISING THROUGH THE WATCHES—pg 10Voyaging safely and con�dently under sail.On board ABIGAIL

Hans Vierthaler —August 18-24 ELEMENTS OF SEAMANSHIP—pg 4Learn-to-sail courses that emphasize seamanship, instill con�dence, and are fun.

ELEMENTS IJane Ahlfeld & Annie Nixon—June 23–29, June 30–July 6Martin Gardner & Sue La Voie— July 7–13, July 14–20Jane Ahlfeld & Gretchen Snyder—August 4–10 (for women only)David Bill & Dave Gentry—August 11–17ELEMENTS IIMartin Gardner & Robin Lincoln—July 21–27Martin Gardner & Dave Gentry—August 18–24

ISLAND EXPLORATION AND SEAMANSHIP—pg 6Exploring and using the Maine Island Trail Association (MITA) islands.On board PATIENCE B

Andy Oldman—July 21–27KNOWING YOUR BOAT—pg 7 Do-it-yourself maintenance vs. hiring a professional.

Hans Vierthaler—August 11–17SAILING DOWNEAST—pg 11 Exploring the Great Wass and Roque Island Archipelagoes.On board PATIENCE B

Andy Oldman—July 28–August 3

SAILING TRADITIONAL DAYSAILERS AND BEACH CRUISERS—pg 5The skill of handling these able, striking, and a�ordable small craft.

Al Fletcher & Mike O’Brien—July 28–August 3 SEA SENSE UNDER SAIL—pg 8 Experience the true joy of sailing with a lifelong sailor.On board the 50’ ga�-rigged sloop VELA

Havilah Hawkins—September 8–14, September 15–21SMALL BOAT VOYAGING—pg 6Competency, safety, and practical on-the-water skills.

Jane Ahlfeld & Bill Thomas—September 1–7TALLSHIP SAILING AND SEAMANSHIP—pg 11Learn numerous skills and sail handling aboard the schooner MARY DAY.

Capt. Barry King & Jane Ahlfeld—August 11–17THE CATBOAT—pg 5 The pleasures of a distinct American sailing craft.

Martin Gardner—August 11–17THE PLEASURE OF SEA KAYAKING—pg 12

ADVANCED COASTAL KAYAKINGStan Wass—September 1–7COASTAL TOURING & CAMPINGBill Thomas—July 28–August 3ELEMENTS OF COASTAL KAYAKINGBill Thomas—June 14–20, August 4–10Mike O’Brien—August 25–31 (age 50 and over)RECREATIONAL KAYAKINGMike O’Brien—August 11–17

BOATBUILDING &WOODWORKINGADVANCED FUNDAMENTALS OF BOATBUILDING—pg 14Taking it one step further.

Greg Rössel—September 1–14BOATBUILDING AND WOODWORKING JIGS—pg 20Designing and creating useful jigs and boatbuilding aids.

John Brooks—September 15–21 BOATBUILDER’S HAND TOOLS—pg 21Making, restoring, and using traditional tools of the trade.

Harry Bryan—June 9–15

BOAT CABINETRY—pg 21Practical guidance on the planning and constructing of interior joinery.

Dave Merri�eld—July 28–August 3 BUILDING A DORY—pg 16Traditional workboat construction with a master shipwright.

Walt Ansel—September 8–14 BUILDING HALF MODELS—pg 25 The practice and pleasure of carving half-hull models.

Mark Sutherland—July 14–20Eric Dow—September 22–28

BUILDING THE ADIRONDACK GUIDEBOAT—pg 18Lore, legend, use, and construction of a classic small craft.

Geo� Burke—August 18–31 BUILDING THE ARCTIC TERN—pg 17Epoxy-glued lapstrake plywood construction of a new Iain Oughtred design.

Geo� Kerr—July 28–August 10 BUILDING THE PENOBSCOT 13—pg 17Glued lapstrake construction of a beautiful plywood daysailer.

Arch Davis—August 4–17 BUILD YOUR OWN ANNAPOLIS WHERRY—pg 27Experience the ultimate in a recreational, open water pulling boat.

Geo� Kerr—September 15–21BUILD YOUR OWN BRONZE SALUTE CANNON—pg 25Work alongside two master machinists.

Michael Caldwell & Duke McGuiggan—July 28–August 3BUILD YOUR GREENLAND-STYLE KAYAK—pg 26A wonderfully simple and a�ordable boatbuilding project. Ideal to do with a partner

Mark Kaufman—June 23–29 BUILD YOUR OWN NORTHEASTER DORY—pg 28The elegance of a traditional workboat in stitch-and-glue construction.

David Fawley—August 11–17 BUILD YOUR OWN PLANK CONSTRUCTED POND YACHTS—pg 24Build Iduna, a vintage Marblehead-class pond yacht designed for radio-control.

Thom McLaughlin—September 1–7

BUILD YOUR OWN SHEARWATER SPORT KAYAK—pg 29A versatile, durable, easy-to-build kayak designed for both the recreational and serious kayaker.

Eric Schade—July 14–20BUILD YOUR OWN SHELLBACK DINGHY OR NUTSHELL PRAM—pg 27Build the ideal dinghy in one busy, satisfying, and fun week.

Jeremy Gage—July 21–27BUILD YOUR OWN SASSAFRAS CANOE—pg 28LapStitch construction of a lovely 12’ solo or 16’ tandem ultralight double-paddle canoe.

John Harris—August 18–24BUILD YOUR OWN WILLOW/QUICKBEAM SEA KAYAK—pg 26Two easy-to-build, all-purpose stitch-and-glue sea kayaks.

Bill Thomas—September 8–14CARVING WATERFOWL—pg 30Learn shallow relief carving along with decorative decoy techniques.

Jerry Cumbo—June 2–8ELEMENTS OF BOAT DESIGN—pg 15Learn the principles and process–then practice on your own design.

John Brooks—August 11–17ESSENTIALS OF FINE WOODWORKING—pg 31Building a dovetailed tool or utility box.

Janet Collins—August 11–17FINE STRIP-PLANKED BOAT CONSTRUCTION—pg 22A guide to building small boats with wood strips and epoxy.

Nick Schade—July 7–13, August 25–31

FINISHING OUT SMALL BOATS—pg 19Creating neat woodwork and joinerwork.

John Brooks—June 16–22 FUNDAMENTALS OF BOATBUILDING—pg 14The theory and practice of classical boatbuilding.

Greg Rössel—June 2–15, June 30–July 13Wade Smith—June 16–29, September 15–28Warren Barker—July 14–27

GLUED-LAPSTRAKE PLYWOOD CONSTRUCTION—pg 19Build ELLEN and a Sundog Ski� —versatile, agile 12’ sailing and rowing dinghies.

John Brooks—June 9–15INTRODUCTION TO BOATBUILDING—pg 16A one-week primer on building small boats.

Bill Thomas—June 16–22John Karbott—August 18–24

LOFTING—pg 15Making sense of all those lines and numbers.

Greg Rössel—June 23–29, August 25–31MAKING WOOD TOOLS—pg 20The art of making traditional woodworking tools.

John Wilson—June 30–July 6


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SEPTEMBER

Off-Site Courses see page 40

15 – 21 22 – 288 – 141 – 725 – 3118 – 24

Island Magic with Ruth Hill &

Judy Mathewson

Marine Electrics with Patrick Dole


with John Karbott



Dave Gentry

Craft of Sail on MISTY with Queene Foster

Cruising through the Watches on ABIGAIL with Hans Vierthaler

Build Your Own Sassafras Canoe with John Harris

Advanced Fundamentals of Boatbuilding with Greg Rössel

Small Boat Repairs with Eric Blake


Building a Dory with Walt Ansel

Build Your Own Plank Constructed Pond Yachts

with Thom McLaughlin

Boatbuilding & Woodworking Jigswith John Brooks

Building Half Models with Eric Dow

Marine Photography II with Jon Strout &

Jane Peterson

Small Boat Voyaging with Jane Ahlfeld &

Bill Thomas

Marine Photography with Jon Strout &

Jane Peterson

Build Your Own Willow/Quickbeam Sea Kayak

with Bill Thomas

Building the Adirondack Guideboat with Geo� Burke

Build Your Own Annapolis Wherry

with Geo� Kerr


with Jon Bardo


Vintage Pond Yachts Part II

with Thom McLaughlin

Coastal Maine in Watercolor

with Amy Hosa

Introduction to Canvas Work

with Ann Brayton

Sea Sense Under Sail with Havilah Hawkins

Craft of Sail on MISTY with Queene Foster

Elements of Coastal Kayaking (age 50 or older)

with Mike O’Brien


Advanced Coastal Kayaking

with Stan Wass



Sea Sense Under Sail with Havilah Hawkins

SMALL BOAT REPAIRS—pg 23Figuring out what’s wrong and how to �x it.

Eric Blake—August 25–September 7 STITCH-AND-GLUE BOATBUILDING—pg 29Learn introductory and advanced modern plywood boatbuilding techniques suitable for heavy-duty boats.

John Harris—July 7–13 THE ART OF WOODCUTS—pg 31An intriguing woodworking project for the beginning or intermediate woodworker.

Gene Shaw—July 21–27TRADITIONAL WOOD-AND-CANVASCANOE CONSTRUCTION—pg 18The art of the canoe with a master builder.

Rollin Thurlow—June 30–July 6VINTAGE POND YACHTS – PART II—pg 24Further work toward completion of your previously started pond yacht.

Thom McLaughlin—September 8–14WOODCARVING —pg 30Introductory and advanced techniques for both �rst-time and experienced carvers.

Reed Hayden—August 4–10WOODEN BOAT RESTORATION METHODS —pg 23The rebuilding process continued.

Walt Ansel—July 28–August 10

MARINE SURVEYINGINSPECTING FIBERGLASS BOATS—pg 32A professional approach to assessing �berglass boats.

Sue Can�eld—June 9–15WHAT SHAPE IS SHE IN—pg 32A detailed study of boats.

David Wyman, SAMS-AMS—June 2–8

RELATED CRAFTSBLACKSMITHING FOR BOATBUILDERS—pg 36An introduction to traditionally forged ironwork for marine projects.

Doug Wilson—June 16–22BRONZE CASTING FOR BOATBUILDERS —pg 37The process of patternmaking and casting custom hard-ware.

Sam Johnson—June 16–22COASTAL MAINE IN WATERCOLOR—pg 39Maritime details near and far.

Amy Hosa—September 1–7INTRODUCTION TO CANVAS WORK—pg 35Project design, tools of the trade, industrial machine stitching, materials, and lots more.

Ann Brayton—September 15–21ISLAND MAGIC—pg 38The art of seeing and sharing through writing, drawing, and photography.

Ruth Hill & Judy Mathewson—August18–24

MAKING FRIENDS WITH YOURMARINE DIESEL ENGINE—pg 33An introduction to evaluating small marine diesels.

Jon Bardo—June 2–8, September 22–28MARINE ELECTRICS—pg 33A thorough introduction to marine electrical systems.

Patrick Dole—August 18–24MARINE PAINTING AND VARNISHING—pg 37The art and science of �nishing prep work to �nal coat.

Gary Lowell—June 23–29MARINE PHOTOGRAPHY I & II—pg 38 Techniques and tips for getting that perfect digital shot on and around the water.

MARINE PHOTOGRAPHY IJon Strout & Jane Peterson—September 8–14MARINE PHOTOGRAPHY IIJon Strout & Jane Peterson—August 25–31

METAL WORKING FOR THE BOATBUILDERAND WOODWORKER—pg 36A survey of tools and techniques.

Erica Moody—July 14–20PAINTING THE DOWNEAST COAST IN OILS—pg 39A comprehensive approach to understanding how to see and paint the Maine coast.

Jerry Rose—July 21–27RIGGING—pg 34Principles and practices; tools and traditional tech-niques.

Myles Thurlow—August 4–10SEASCAPE/LANDSCAPE IN WATERCOLOR—pg 39 The sea, the sky, and boats, for beginners on up.

Phil Steel—August 4–10THE ART OF SCRIMSHAW—pg 35The step-by-step introduction to creating beautiful pieces.

Ron Newton—July 28–August 3THE MARLINESPIKE SAILOR—pg 34Functional and decorative knots and ropework.

Tim Whitten—July 7–13

2013 WOODENBOAT SCHOOL | www.woodenboat.com | (207) 359-46512

2013 Dear Friends

Welcome aboard! Thanks for inquiring about our program. As you browse

through our catalog or our website <www.thewoodenboatschool.com>, I’m fairly certain that there will be something that grabs your at-tention. There’s a lot of information packed into these pages, so take your time, read carefully, and get in touch if you have any questions or would like to register for a course(s). If what we offer interests you, I’m sure you’ll �nd that joining us for a course is worth your while. In Frank R. Wilson’s fascinating book The Hand, the author celebrates the importance of our hands to our lives today as well as to the development of our culture. Our hands play a key role in our capacity for thought, com-munication, and creativity. At WoodenBoat School, we present a wide array of “hands-on” courses that will both stimulate and inspire you. Classes are small and intimate, allowing each student the opportunity to receive plenty of personalized attention from their instructor. And our stu-dents are as diverse and fascinating a bunch as you could

imagine—all ages and from all walks of life, with all levels of woodworking

and boating experience. The common denominator is a passion for good boats—

understanding them, building them, using them, and, most importantly, enjoying them. Our 64-acre campus is located on the beautiful coast of Maine, in the small community of Brooklin, an area steeped in the traditions of boatbuilding and �shing. It’s an easy place to settle in, relax, live in comfortable ac-commodations, make new friends, and learn new skills. Dedicated staff and faculty are more than willing to share their expertise with all who are interested. So, come join us this season, and help WoodenBoat School celebrate our 33rd year!

Rich HilsingerDirector

CONTENTSSeamanship ....................................3

Boatbuilding and Woodworking ... 13

Marine Surveying ......................... 32

Related Crafts ................................ 33

2013 Off-Site Courses ..................... 40

Faculty .......................................... 41

Staff ............................................... 55

Registration Information ............... 56

BANGOR

MAINE

AUGUSTA

PORTLAND

BOSTON

BROOKLIN

33

NEW HAMPSHIRE

VERMONT

MASSACHUSETTS

Celebrating 33 Years of WoodenBoat School 3

2013Seamanship

We receive many inquiries from individuals who are thinking about joining us on the water, yet are unsure which course(s) to sign up for. While there are certainly different things to consider, we’re con�dent that we can help you choose the best course to suit your needs.

All of our Seamanship courses focus on becoming a sailor, which means much more than just learning to sail. Each course takes a “hands-on” approach, and the majority of class time will be spent in boats on the water. Our in-structors are �ne sailors themselves, each possessing good judgment and a knack for instilling con�dence in a posi-tive environment. Our classrooms are beautiful, wooden sailing and rowing craft that are a pure joy to step aboard. Our waters offer some of the �nest sailing and cruising in the world.

WoodenBoat School’s Seamanship program has some-thing for everyone, beginner to experienced. A wonder-ful introduction to the art of sailing is our very popular ELEMENTS OF SEAMANSHIP course, offered throughout the season. For practical reasons, step two could be repeat-ing ELEMENTS with another set of instructors. It is easy to forget information from one season to another, espe-cially if you don’t have access to sailing where you live. The next step would be ELEMENTS II. Our CRAFT OF SAIL, CRAFT OF SAIL II, SKILLS OF COASTAL SEAMANSHIP, SEA SENSE UNDER SAIL, and ISLAND EXPLORATION AND SEAMANSHIP selections get more experienced students out

HOW TO CHOOSE THE BEST WATERFRONT COURSE FOR YOU

WOODENBOAT’S FLEET OF SMALL CRAFT28'6" BELFORD GRAY, Friendship sloop18'8" Mackinaw gaff ketch18' GERONIMO, Westpointer16' SHEARWATER, double-ended ultralight16' BABSON, outboard skiff16' WHISP, sailing skiff16' SHENANIGANZ, Fenwick Williams catboat15'11" DOVEKIE, Herreshoff 12½15'11" WE 3, Herreshoff 12½15'11" SEAL, Herreshoff 12½15'11" ALLENE, Haven 12½15'11" CRACKERJACK, Haven 12½15' 11" CONNIE L, Haven 12½15' 11" FOX, Haven 12½

14' 9" AMERICAN BEAUTY, Whitehall pulling boat14' SKYLARK, sailing dinghy14' WILD ROSE, Maine Coast dory14' SHIMMER, Biscayne Bay sharpie sloop14' WINSLOW, Saturday Cove skiff12' WHIMSY, Beetle Cat12' ELATER, Beetle Cat12' JESSE, Catspaw sailing dinghy12' PICCOLO, sailing canoe11' 6" RACHEL and ARETHA, Shellback dinghies11' 6" CHARLOTTE, Tom Hill ultralight10' GOOD COOKIES, Constant Camber rowing skiff9' 6" BIG, Nutshell sailing pram7' 7" LITTLE, Nutshell sailing pram

on an exciting array of larger sailing vessels. And, for those folks looking for a unique “liveaboard” experience, we of-fer COASTAL CRUISING SEAMANSHIP, CRUISING THROUGH THE WATCHES, and SAILING DOWNEAST.

You’ll also �nd excellent opportunities to gain experi-ence in coastwise navigation and kayaking. So, take your time and read through these pages slowly. Please keep in mind that we’ll be glad to help you with any decisions that may prove dif�cult; just get in touch with us. Choosing the appropriate course brings not only the exhilaration of learn-ing new skills, but the satisfaction of time well spent for everyone involved.


2013 SeamanshipELEMENTS OF SEAMANSHIP I & IILearn-to-sail courses that emphasize seamanship, instill confidence, and are fun.

ELEMENTS IJANE AHLFELD & ANNIE NIXON — JuNE 23-29 & JuNE 30-JuLy 6

MARTIN GARDNER & SuE LaVOIE — JuLy 7-13 & JuLy 14-20

JANE AHLFELD & GRETCHEN SNyDER — AuGuST 4-10 (women only)

DAVID bILL & DAVE GENTRy— AuGuST 11-17

ELEMENTS IIMARTIN GARDNER & RObIN LINCOLN— JuLy 21-27

MARTIN GARDNER & DAVE GENTRy— AuGuST 18-24

Since early in WoodenBoat School’s history, we’ve had the great pleasure and satisfaction of introducing thousands of students to the joys of sailing. Our Elements courses continue to be among our most popular offerings, often bringing students back, year af-ter year, for more sail training. Anyone can learn to sail, but these courses cover much more than that; our experienced instructors immerse each student in the art of seamanship. Our emphasis is on the skillful handling of small craft and building confidence in one’s abilities. These come from practice, and more practice.

Sailing can provide a lifetime of fun and recreation, but it also requires some basic knowledge and experience. We have observed that the quickest and best way for folks to learn the fundamentals of sailing is by starting out in small boats. Our program will get you onto the water quickly, safely, and fully prepared. Under the calm and knowing guidance of our seasoned instructors, you’ll learn the essentials—sailing dynamics, boat rigging and spars, and safety precautions—followed by practical lessons on sailing techniques. Daily hands-on exercises and drills will take students through getting underway, maneuvering through the points of sail, keeping a course, tacking, returning to a mooring and dock, and much, much more.

You’ll learn to rig our boats. We have various craft here that are suitable for the most timid and the most adventurous of stu-dents. Your on-the-water classroom for the week will be our fleet of Herreshoff and Haven 12½s—keel/centerboard daysailers that are a pure delight to sail safely. Above all, we want to take the drama out of sailing—it is a safe and enjoyable sport, and our heavy emphasis on seamanship should go far toward ensuring this goal. You’ll definitely have fun this week!

When the wind is fickle, you’ll practice rowing and sculling. There will be daily classroom lessons about charts and naviga-tion, safety equipment and weather conditions, knot tying and heavy-weather strategy. Our instructors focus their entire summer on our fleet and waterfront facility; their “sea sense” is highly tuned, and experiencing that may be the biggest lesson of all.

In our ELEMENTS II course, students who have some prior small-boat sailing experience will have the chance to refresh their own “sea sense” and fine-tune their boating skills. You will work toward handling our vessels competently and confidently. Solo sailing will be encouraged, and a variety of more challenging

tactical/navigational exercises will be presented. If you’re a gradu-ate of ELEMENTS I, this is the perfect second step in your mastery of sailing. Essentially, this course is about sailing, sailing, and more sailing!

Tuition: $750

ELEMENTS II QUALIFICATIONSBecoming a sailor takes time (more than one Seamanship course, we can promise), and it takes work. To ensure that you not find yourself “in over your head” in our ELEMENTS II course, we ask that you have recently completed our ELEMENTS I course, or have equivalent experience: you should feel reasonably comfortable sailing a small boat from a mooring or dock, and returning her safely, using crew to help. Improving your sailing skills will ul-timately increase your enjoyment of the sport. If you have any questions regarding your abilities, please give us a call.

“Your ELEMENTS OF SEAMANSHIP course is extremely well organized and very well done. Teaching anything is not easy and trying to manage ten students on boats, and successfully pull it off, is a huge testament to our instructors. They were excellent.”

B.M., Sommerville, Massachusetts


2013SeamanshipSAILING TRADITIONAL DAYSAILERS AND BEACH CRUISERSThe skill of handling these able, striking, and a�ordable small craft.AL FLETCHER & MIKE O’BRIEN — JULY 28-AUGUST 3

In this unique seamanship course, students will have the rare opportunity to row and sail several traditional small boats, 20' and under, along the WoodenBoat waterfront and out to secluded islands that lie just beyond Great Cove. It will be a great chance to learn how to rig and handle spritsails, lugsails, gaff-headed sails, and the curiously named, but wonderfully ef�cient, Chesapeake leg-o’-mutton.

With their origins along the working waterfront, these strik-ing and no-nonsense boats make good practical sense. We’ll sample boats from such outstanding designers as Joel White, Paul Gartside, Nelson Zimmer, Iain Oughtred, Steve Redmond, Fenwick Williams, and others. Their simple and robust rigs are easily handled, readily repaired, and tend to cost far less than high-strung modern rigs with their tall masts and taut wire rig-ging. But, if you are to get the most out of these designs, you’ll need to know a few tricks.

Both instructors, Mike O’Brien (former Senior Editor of WoodenBoat mag-azine) and Al Fletcher (past manager of WoodenBoat School’s waterfront), bring loads of experience rowing and sailing boats of this type. Al will also share his knowledge of working tra-ditional three-strand rope with marlinespike and �d. Mike, a former champion-ship oarsman, will teach participants how to row ef�ciently—more miles for less effort.

A typical day might begin with a shoreside lesson and demonstration. Then we’ll row off into the morning calm. When the sea breeze pipes up, we’ll hoist sail. After lunch, we’ll enjoy more sailing and eventually return to the Mountain Ash Student House for a �ne supper.

The able small craft that we’ll sail offer an independence often lacking in heavier, deeper boats. Smaller boats can ride trailers to choice and distant cruising grounds. They can sail across the �ats to unspoiled creeks. They can sidle right up to a deserted island beach that would force their larger cousins to stand off. They live happily, and inexpensively, in our back-yards, not in boatyards. They go together relatively quickly. And if we wish to build our own, we can work happily without the worry that our heirs might have to �nish the project.

Tuition: $750Note: Prior sailing experience required for this course.

THE CATBOATThe pleasures of a distinct American sailing craft.MARTIN GARDNER— AUGUST 11-17

Catboats have been around forever and are as much a part of America’s history as the Model T Ford or the Wright Brothers’ �rst �ight. These shallow-draft, broad-beamed, centerboard boats with a single mast right up in the bow have played an important role among American working and pleasure craft. The earliest examples of these vessels were found sailing in

New York waters. As the type spread into New England, changes were made to accommodate not only the different conditions encountered along these open coast-lines, but also the dif-ferent �sheries in which they would be em-ployed. They eventually garnered the attention of sailing enthusiasts and became popular as a racing class, youth sail trainer, family day-sailer, and cruising boat. Catboats are, as L. Francis Herreshoff said,

“one of our most romantic types” and survive today as plea-sure boats—very pleasurable boats—simple, roomy, comfort-able, and when properly handled, very well behaved.

This course combines practical skills with some fun, relaxed voyaging. We’ll use catboats large and small—from 12' Beetles to a 21' Crosby. We’ll rig them, sail them, reef them, and moor them. We’ll learn how to let them take care of themselves, to self-steer, and to heave-to. We’ll pick exciting destinations for day trips, sail to them, anchor, and explore local waters and islands. We’ll cover all the basics of seamanship with particular emphasis on navigation, using tools ranging from the lead line to the iPad.

Catboats lend themselves to relaxed sailing, and we’ll make a point of soaking up the beauties of the Eggemoggin Reach and other local waters as we cruise under plenty of canvas.

Tuition: $750Note: Prior sailing experience required for this course.

A typical day might begin with a shoreside lesson and

NEW


2013 SeamanshipISLAND EXPLORATION AND SEAMANSHIPExploring and using the Maine Island Trail Association (MITA) islands.ON BOARD THE 36’ KETCH PATIENCE B

ANDY OLDMAN – JULY 21-27

The Maine Island Trail is a 325-mile-long waterway extending from Casco Bay in the west to Machias Bay in the east. The trail winds its way along the coast over saltwater rivers and quiet bays, around magni�cent and exposed capes, and among islands large and small. It takes advantage of the existence of over 90 privately owned and state-owned islands and numerous public mainland sites along the route, using them for day visits or overnight stopovers where one can camp in a wilderness setting.

Come share Andy Oldman’s enthusiasm for exploring, gunkholing, and navigating the MITA islands. WoodenBoat School is ideally located in the midst of the magni�cent Deer Isle archipelago and is within �ve miles of 14 of the MITA islands. Remarkably, they are among the best-kept secrets of mid-coast Maine. Often thought of as the province of only kayaks, the MITA islands are open to all MITA members and any form of waterborne transportation.

The emphasis of this course will be to balance the skills and demands of island seamanship with the incredible rewards of time spent ashore on these islands and islets. We will sail Eggemoggin Reach, Jericho Bay, and Merchants Row while learning a variety of specialized sail handling and anchoring techniques so that we can moor our 36’ ketch PATIENCE safely and very close to shore.

Safety and �tness issues will include frank discussions on seasickness, the challenges of moving about the deck at night and in rough weather, and methods and products available for rescuing a man overboard. Toward the end of the week, we will practice a man-overboard recovery while under way.

The anchoring and landing process is often complex and exciting. It is a �ne exercise for building con�dence. At particularly challenging locations, we will make our own detailed charts of the island anchorage so that return visits may be repeated with ease and certainty. During one of the island landings we will demonstrate setting up and using a portable outhaul mooring for one of our dinghies. We will also discuss and problem solve how PATIENCE B is able to safely approach and anchor, and then make a beach landing in thick fog.

Each day’s voyage will be planned, charted, and navigated by the class to re�ect wind and sea conditions and the particular emphasis of the island selected for exploration. All participants will have the opportunity to learn as much as they wish about gaff rig, chart work, weather prediction, and electronic aids to navigation. We intend to spend plenty of time on various islands to allow full enjoyment of the sweeping vistas, examination of the vegetation, bird and sea life, and to undertake photography, sketching, or just relaxing.

Tuition: $840Note: Students should be in good physical condition, have good balance and agility and the ability to enter and exit small boats from larger craft, beach or rocky shore.

SMALL BOAT VOYAGINGCompetency, safety, and practical on-the-water skills.JANE AHLFELD & BILL THOMAS — SEPTEMBER 1-7

Have you ever wished for the con�dence to venture out further under sail than the familiar waters you’re used to sailing on? Or while you’re a student here at WoodenBoat School, have you yearned to go out beyond Great Cove? This new course taught by longtime sailing instructor Jane Ahlfeld and Maine Guide and waterman Bill Thomas will provide just such an

opportunity and help build the skills needed for planning and executing your own voyages in a small boat.

Participants will ex-plore the wealth of is-lands and coves with-in day-trip distances of WoodenBoat School and return to our cam-pus each day. In the classroom, you will review weather fore-

casts, tide and current tables, chart reading and navigation, as well as concepts and theories of small-boat handling. Trip planning, gear considerations, provisioning, �rst aid, and “leave no trace” ethics will be discussed. Out in the boats, we’ll put all these new skills to practical on-the-water use.

Each day we’ll head out as a group to nearby islands and coves in boats selected from the school’s great collection of recreational watercraft. Depending on weather conditions, these might be rowing or pulling boats or daysailers. Daily practice at anchoring and coastwise navigation, including the real aspects of tides and changing weather, will reinforce the theories discussed in the classroom. At the conclusion of this course, students should return back to their home waters with the skills and judgment needed to safely plan and enjoy their own day and overnight small-boat voyages.

Tuition: $750Note: This is not a beginner’s sailing course. Participantsshould be able to sail and manage a boat on their own.

“The trust which was placed in us and our abilities to work in your shops and use your incredible waterfront was extraordinary…..in fact, very unique, in my experience. Thank you so much.”

B.Z., Mountain View, California

casts, tide and current tables, chart reading and navigation, as well


2013SeamanshipCOASTWISE NAVIGATIONKnowing where you are on the water.JANE AHLFELD — JUNE 16-22

Except in the smallest bodies of water, the sailor is helpless if he or she lacks the age-old skills of piloting and dead reckoning. Even in the clear waters of the tropics, vigilant eyeball navigation is not enough to keep a vessel off the reefs. Along Maine’s coast of cloudy waters, sharp rocks, and sometimes thick fogbanks, only a fool would get underway without a good understanding of how to use charts and instruments to navigate a safe voyage. For these reasons, basic piloting is taught in all our Seamanship classes. The goal of this course is to give students a really thorough understanding of, and facility with, the subject—approaching it both “academically” and on the water.

You’ll start with charts, the fundamental tool of the navigator. Modern charts present an incredible amount of information, and to really utilize it all—to continuously visualize the connection between the chart and your spot on the water—takes skill and experience. Jane will help you acquire both. You’ll learn about symbols, scales, specialized charts, and more.

You’ll examine compasses—types, azimuths, lubber lines, the confusions of deviation and variation. Parallel rules and dividers will become your friends as you learn the techniques of plotting courses, LOPs, and �xes. You’ll move on to more advanced procedures such as running �xes, compensation for set and drift, bow and beam bearings, circles of position, and the six-minute rule. You’ll go boating a lot in this course, putting your lessons into practice and getting skillful with the tools. You’ll use traditional and reliable instruments like the compass and leadline, and you’ll get your hands on electronic devices like depthsounders, Loran, and GPS. A day or two of fog will be welcome, but barring that, you’ll work under an airplane pilot’s training glasses to experience running blind.

The beauty of this course is that it provides the ideal blend of the theory and practice of coastal navigation. By week’s end, you should be able to enjoy the niceties of piloting and relax more with your boat on the water.

Tuition: $750Note: This course will include a day with marine electronics writer, and former WoodenBoat instructor, Ben Ellison on his 37' lobster yacht GIZMO, aboard which is installed a remarkable collection of chart plotters, radars, sonars, and other modern aids to navigation.

KNOWING YOUR BOATDo-it-yourself maintenance vs. hiring a professional.HANS VIERTHALER— AUGUST 11-17

In this new course taught by veteran skipper/boatbuilder/rigger and longtime boat owner Hans Vierthaler, we will look at many of the factors that go into maintaining a wooden boat and how to determine what work should/could be done by the owner and what should be passed on to a professional. Decisions like these can often be challenging ones, especially for the boat’s owner, but they don’t have to be daunting. A regular maintenance program is the key, and students in this course will explore how to go about designing such a plan.

This week will be full of practical information. You’ll quickly discover that nothing is maintenance free. Hans and his students will cover all aspects of caring for a boat—paint and varnish, rigging, deck gear, systems, and mechanical. You’ll learn how things work, where to look for wear and tear, causes and cures, when to make improvements, and when a professional should be called in for advice or to do actual repairs. Each morning students will go aboard a different vessel and inspect how each one is set up, what condition it is in and where potential problems may exist. After lunch, you’ll take these boats out for an afternoon sail and see for yourself how all the various systems come together as a whole to make the vessel safe and fun under sail.

At week’s end, students will have a new appreciation for boat maintenance and a keener eye for avoiding some of the trouble before it happens and keeping ahead of future problems. Most important, everyone will discover that a great deal of this regular maintenance, which is within the scope of the average boat owner, can easily be done by the boat owner him or herself. And, as a bonus, you will also have had the pleasure of sailing on some �nest sailing craft you’ll ever step foot on.

Tuition: $750

NEW

“We came to the COASTAL CRUISING SEAMANSHIP course with high hopes and expectations, all of which were exceeded. Hans Vierthaler was excellent – knowledgeable, experienced and very patient. ABIGAIL was a wonderful classroom.”

K.V., Tampa, Florida

Except in the smallest bodies of water, the sailor is helpless if he or she lacks the age-old skills of piloting and dead reckoning. Even in the clear waters of the tropics, vigilant eyeball navigation is not enough to keep a vessel off the reefs. Along Maine’s coast of cloudy waters, sharp rocks, and sometimes thick fogbanks, only a fool would get underway without a good understanding of how to use charts and instruments to navigate a safe voyage. For these reasons, basic piloting is taught in all our Seamanship

2013 SeamanshipSEA SENSE UNDER SAILExperience the true joy of sailing with a lifelong sailor.

ON BOARD THE 50' GAFF-RIGGED SLOOP VELAHAVILAH HAWKINS — SEPTEmBER 8-14 SEPTEmBER 15-21

Havilah “Haddie” Hawkins has been sailing and fooling around in boats throughout his life. His father, Havilah “Buds” Hawkins designed, built, sailed, and skippered boats his entire life and was a well-known fixture in the wooden boat community. It’s no wonder salt water quickly found its way into Haddie’s veins.

WoodenBoat School is excited to offer students a one of a kind opportunity to sail and learn from this master mariner on board the beautiful 50' gaff sloop of his own design, VELA. This will be a glimpse into the lure of sailing—a week full of seamanship, skills afloat, sound advice, and storytelling under sail. You’ll learn how to control VELA on all points of sailing, how her sails work, their trimming, the forces involved, dealing with wind shifts, picking up moorings, anchoring and laying to. Haddie will also share his thoughts on the practical aspects of running and maintaining a large vessel, and running a safe ship. Students will also learn about navigation, the weather and tides, the visual signs you should watch for, coastal geography and geology, marine life, sea conditions, and using common sense. Above all, this will be a wonderful occasion to enjoy the fun and rewards of sailing.

Tuition: $750Note: Students should be in good physical condition,have good balance and agility and the ability to enter and exit small boats from larger craft, beach or rocky shore.

CRAFT OF SAILLearn and enjoy big-boat sailing with a master.On BOard the 40’ SlOOp TAMMY NORIEJOEL ROWLAND—JULy 7–13, JULy 14–20On BOard the 39’ Ketch ABIGAILHANS VIERTHALER—JULy 21–27On BOard the 28’ FriendShip SlOOp BELFORD GRAYDAVID BILL—JULy 28–AUGUST 3On BOard the 38’ c/B Yawl SOPHIAPHILLIP LAFRANCE—AUGUST 11–17, SEPTEmBER 1–7On BOard the 39’ Yawl MISTYQUEENE FOSTER—AUGUST 18–24, AUGUST 25–31 CRAFT OF SAIL is for folks who have some previous sailing experience, whether it comes from a seamanship program or personal involvement with boats. The course is designed for those who want to improve their skills and confidence on the water, particularly in the context of a cruising-sized vessel. Subjects include sail theory, hull and rig balance, helmsmanship, piloting in clear weather and fog, approaching and leaving floats and moorings, knots and rigging, man-overboard strategy, handling ground tackle, crew management; and, with those of our vessels that have power plants, maneuvering under power, and the rudiments of auxiliary engines and navigation instruments. The seaman aspires to the mastery of many subjects, but the essence of the craft of sail is sea sense: the ability to tune in to a boat, the weather, and the crew, and apply good judgment so that all work together harmoniously. Our instructors understand this, and they will help you to acquire that sense by sharing their own experiences and by encouraging you to think and feel a boat through various real and “what if” situations. With a maximum of five students, there is plenty of opportunity to ask questions and try tricks at the helm. There are numerous sailing schools out there, but few offer experience in cruising/charter-sized vessels like these—and none that we know of offer instruction by such experienced sailors on such lovely yachts.


CRAFT OF SAIL IIA better understanding of your boat and her environment.ON BOARD A VARIETy OF BOATSDAVID BILL — AUGUST 4-10This unique seamanship course is designed for those who have some big-boat experience, yet feel a need to fine-tune their sailing skills. Capt. David Bill and his students will head out each morning on a different boat to expose crew members to different rigs and how they perform in a variety of conditions. Sail selection, reefing, deck safety, heavy-weather sailing, anchoring, and steering with sails are among the many topics to be covered in this stimulating, on-the-water course.

Tuition: $750Note: Students should be in good physical condition, have good balanceand agility and the ability to enter and exit small boats from larger craft, beach or rocky shore.


“You make a cohesive product out of disparate people who are way out of their element in a wholly welcoming, entirely comfortable, never condescending manner. And routinely blowing people’s minds. It is uncommon to see anyone do it as well as your team does. Very, very uncommon. Your passion is contagious. A class act in a class of its own. I’ll be back.”

B.D., Flagstaff, Arizona


VELA, a 50' straight-stemmed, gaff sloop, was designed by owner/skipper Havilah Hawkins and built in 1996 by the Wooden Boat Co. in Camden, Maine. Sporting a single headsail and a large mainsail—800 sq ft on a 35' boom—VELA is a pleasure to sail in all wind conditions. Lazyjacks

and lifts enable the huge mainsail to be easily handled by only two people. Comfortable, seaworthy, and well balanced, this beautiful boat provides a perfect classroom for students who will learn how

to work with the wind and sea, not against them.

SOPHIA is a handsome Arthur Robb design built in 1959 on the Isle of Wight in the UK by R & W Clark. She’s a comfortable 38’ auxiliary centerboard yawl with 4' draft extended to 7' with her centerboard down. The fast and successful centerboard yawl S&S FINISTERRE, extremely wide and shallow for the time period, influenced Robb. But SOPHIA’s design remains more in keeping with the English style, a little narrower and deeper. SOPHIA’s first owner took her across the Atlantic many times, stopping in Italy to make some interior changes. Her second owner sailed her from Maine to Hopetown in the Bahamas on a yearly basis and he served as the island doctor for the community. Phillip La France has owned SOPHIA for the last five years making her his sixth wooden sailboat. She is fast and stable and the shallow draft allows her to go places where others cannot. The yawl design gives everyone something to do with small mizzens, stay sails, and spinnakers, which add speed and unique sail options not found on a sloop.

TAMMY NORIE is a 40' sloop designed by Kim Holman. Built to be both a comfortable family cruising boat and a blue-water voyager, she was constructed in 1969 at Whisstock’s Boatyard in Woodbridge,

England. The boat was one of seven sister ships (known as the Whisstock Landfall 40s) built by the yard between 1958 and 1972. On her maiden voyage, owner Bud McElfresh and his family delivered TAMMY NORIE from England to Connecticut. She cruised in Long Island Sound and along the Eastern Seaboard

with the McElfresh family until she was purchased in 1992 by Dr. Mike Rowland and delivered to Maine. She has since completed two more transatlantic voyages and has received constant maintenance and upgrades to her hull, cockpit, cabin, and rig. Owned now by Joel Rowland, TAMMY NORIE has been

outfitted for coastwise sailing and charter work. She is a modern, beautiful, simple, and stable boat for anyone wishing to learn sailing skills while exploring the islands and bays of the Maine coast.

MISTY is one of the famed 39' Concordia yawls built at Abeking and Rasmussen in Germany for the Concordia Company of New Bedford, Massachusetts. Designed by Ray Hunt and Waldo Howland in 1939, the 39s served as family cruisers and successful bluewater racers, and are known for their intricate construction details, beautiful proportions, and grace on the water. MISTY spent 45 of her 52 years on the Great Lakes in the care of one loving family who raced her successfully. She’s received excellent care over the years, and has never needed a major rebuild. Her layout and details are original. Her yawl rig provides many lines to pull to adjust her sails to perfection. MISTY is easy to sail in nearly all conditions, because no sail is too large to handle.

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Our own 28'6" Friendship sloop, BELFORD GRAY, was designed by Joel White and named in honor of a very special friend and former instructor here at WoodenBoat School. This hand-

some vessel was built with the talents and dedication of many enthusiastic students working under the guidance of master boatbuilder Gordon Swift. Launched in 1992, BELFORD GRAY has

performed admirably over the years. With the feel of a real vessel under sail, BELFORD GRAY provides each individual student with a safe and enjoyable learning environment in which to

sharpen his or her own skills afloat. With an easy motion, she deals with the wind and sea confidently—a common trait among Friendship sloops. She is fun to sail and may be the perfect

boat in which to gain a better understanding of the art of seamanship.

2013

2013 SeamanshipCRUISING THROUGH THE WATCHESVoyaging safely and con�dently under sail.ON BOARD THE 39' KETCH ABIGAILHANS VIERTHALER — AUGUST 18-24

If you’ve ever wondered what it is like and how to make an overnight or extended trip along the coast, or an ocean voyage, this week with Hans will shed plenty of light on the subject. We offer this opportunity to the experienced, large-boat sailor wishing to advance his or her skills in the areas of coastal piloting, navigation, sail-handling, watch-keeping, safety at sea, and much more. In addition to the topics covered in our COASTAL CRUISING SEAMANSHIP courses, the centerpiece of this liveaboard course will be journeying overnight to a destination. Students will be able to immerse themselves in the daily routines of a traditional sailing vessel, while learning how to choose and plan a long-range destination appropriate for weather and tide conditions, safety considerations, standing a watch, and nighttime piloting. The moon will be moving toward its fullest stage during this week, and we hope to take full advantage of it and experience the thrill of moonlit sailing.

The week will start with Hans explaining the various systems, instrumentation, and sail con�gurations aboard his beautiful 39' ketch, ABIGAIL. After spending the �rst night in a secluded anchorage, Hans and his students will determine the best option for an extended cruise after listening to the weather, developing a backup plan should conditions change, and laying out a watch schedule. Tuesday you’ll set off on your adventure.

Designed to build the con�dence of sailors who are seeking new challenges and wish to go beyond the boundaries of day sails from the WoodenBoat waterfront, CRUISING THROUGH THE WATCHES may help one prepare for eventual boat ownership and/or realize the dream of an extended cruise. Whatever your reasons for signing on for this course, you will �nd your captain a knowledgeable and patient instructor, and eager to share his 20 years of experience sailing in the coastal and offshore waters of Maine.

Tuition: $1150Note: Students should be in good physical condition, have good balanceand agility and the ability to enter and exit small boats from larger craft, beach or rocky shore.

COASTAL CRUISING SEAMANSHIPA week’s education under sail.ON BOARD THE 39' KETCH ABIGAILHANS VIERTHALER— JULY 14-20, SEPTEMBER 1-7

Over the years we’ve learned that the best way to discover the pleasures and develop the skills of cruising under sail is to sail off in the right boat with the right skipper. This season we are again proud to offer two liveaboard courses on board a classic vessel.

The 39' John Alden–designed cruising ketch ABIGAIL, with Hans Vierthaler as your instructor, is a beautiful example of a bluewater yacht, and a great vessel on which to learn about sailing. Designed to provide the maximum of comfort and seaworthiness, accommodating students in a safe, spacious manner.

Hans Vierthaler is a seasoned, proven, and enthusiastic sailor who has spent a good portion of his life sailing and living aboard boats. He will create a custom-tailored course in which you will be patiently coached toward the next level in your sailing career—whether it be skippering a vessel on your own, or crewing with increased con�dence, competence, and enjoyment. Everyone shares in the responsibilities of the cruise, including skippering, navigating, and cooking. There’s time, too, to savor the pleasures that cruising is all about—feeling a well-found vessel moving through a seaway, experiencing the peace and freedom of life at sea, and slipping into quiet anchorages each night.

This is a rare opportunity to learn anything and everything you wish to about the complex subject of big-boat cruising, and we’re very pleased to have the chance to offer it to you.


ABIGAIL is a lovely 39' ketch designed by John Alden in his later years and built by Seth Persson in Old Saybrook, Connecticut. Rugged yet handsome, this double-planked boat was originally launched in 1956. Having undergone both a structural and cosmetic restoration at Brooklin Boat Yard, ABIGAIL was relaunched in the summer of 1994. She is no stranger to the Maine cruising community and has also cruised the Caribbean during a brief period of owner-ship by an Italian count.Varied sail inventory gives ABIGAIL the versatility one needs for the changeable winds found on Maine’s coast, and a 4108 Perkins diesel is always available for those �at-calm days. Her spacious cockpit, wide decks, high bulwarks, standing headroom, and current electronics all contribute to a comfortable learning experience.



2013SeamanshipSAILING DOWNEASTExploring the Great Wass and Roque Island ArchipelagoesON BOARD THE 36' KETCH PATIENCE B ANDY OLDMAN — JULY 28-AUGUST 3

In this course on board the 36' ketch PATIENCE B, Andy Oldman and three students will chart a course for the unsurpassed beauty of Maine’s Downeast cruising grounds and islands east of Mount Desert. We will visit and explore the Great Wass Island and Roque Island archipelagoes. Our itinerary, always subject to weather and sea conditions, will include Jonesport, Mistake Island Harbor, The Mudhole and Crumple Island, and on to Roque Island, famous for its cirque sand beach, and adjacent islands: Great Spruce and The Brothers.

This course has an ambitious schedule, and students can look forward to ex-tended days under sail with possible overnight sailing in the mix. Undoubtedly, the weather will vary, consisting usually of �ne summer winds mixed in with some thick Downeast fog.

Students will commence loading at noon on Sunday, and depart for Frenchboro in plenty of time to arrive before dark. At �rst light on Monday, PATIENCE B will depart for Moose Peak lighthouse and Mistake Island Harbor on Great Wass, and arrive by sunset. The return is timed to enjoy the spectacular scenery and sunset off Schoodic Point and Mount Desert as we head west to Frenchboro again for our �nal night at anchor. We will return in time to regale our fellow classmates with exciting Downeast tales at the Friday night lobster bake. Navigation, sail handling, maritime safety, anchoring, our own meal preparation, and island landings/exploration will occupy much of our time. Under sail we will have the opportunity to extensively use radar and a state-of-the-art chart plotter. On land, plenty of time is available for hiking, sketching, and photography. PATIENCE B has carried two families some 45,000 miles on two major open water passages, and is fully equipped and well found. She is spartan by contemporary yacht standards, �lled with old-world ambiance and comfortable, cozy accommoda-tions. Andy will communicate with the selected students to arrange basic meal planning, gear necessities, etc. well in advance of our departure.

Tuition: $1500Note: Due to the extensive physical challenges of the trip, excellent physicalcondition, good balance, and agility are basic requirements for this voyage, along with previous large-boat sailing experience.

Another traditional sailing vessel in our Seamanship program is the William Hand–designed 36' cruising ketch PATIENCE B, launched in 1988. Harry and Martha Bryan and their two children spent three years lovingly crafting the gaff-rigged boat and then sailed off on a 32,000-mile adventure that most folks only dream about. In 2000-2001, Andy, Madeleine, and Sumi Oldman contin-ued the adventuring on PATIENCE B with a 20,000-mile voyage to France, the Mediterranean, the Atlantic islands, Brazil, Chile, and home to Boston via the Galápagos Islands and Panama Canal. PATIENCE B is not only beautiful to look at, but a great pleasure to sail. She is a proven bluewater sailer, dry, comfortable, handy, able, and reasonably quick if her crew treats her properly. The ver-satility of her rig gives her the ability to be sailed quite comfortably under any wind or sea condition.

TALLSHIP SAILING AND SEAMANSHIPLearn numerous skills and sail handling aboard the schooner MARY DAY.CAPT. BARRY KING AND JANE AHLFELD — AUGUST 11-17

WoodenBoat School invites you to join Jane Ahlfeld and Capt. Barry King for a week of experiential instruction aboard one of Penobscot Bay’s legendary tall ships, the schooner MARY DAY. Launched in 1962 and re-built during the winter of 1999/2000, the schooner is 90’ on deck, 125’ sparred length, displaces 96 tons, and carries 5,200 sq. ft. of canvas with more sails than any other windjammer on the bay. She is a big, pure

sailing vessel, designed and rigged along the lines of a traditional coasting schooner, but built with comfort and safety in mind.

During this “hands-on,” team-oriented course, students will have the opportunity to become integral members of the MARY DAY crew. Topics covered will include general seamanship, coastal navigation, and marlinespike sea-manship. Students will be divided into teams to learn the skills that every sailor needs aboard any vessel. The Crew of MARY DAY will expertly guide you in trimming and handling sails, steering, plotting a course, stitching a ditty bag, and going aloft (optional) to stow the topsails. On Friday, students will take command and utilize the skills they have been learning throughout the week.

Like any windjammer cruise, we will get ashore each day to walk, stretch, and explore. There will be time at night to enjoy some traditional sailor’s songs and relax under the stars. Great food is the hallmark of any windjammer cruise to satisfy the hardiest appetites, including a Maine lobster picnic.

The rhythm of shipboard life provides a unique environment to experience the sights, sounds, and smells of the Maine coastline. Most importantly, Barry and Jane bring humor, joy, and a relaxed atmosphere to the sailing experience. Join Barry, Jane, and the crew of the MARY DAY for a great week under sail discovering the workings of a traditional sailing ship.

Tuition: $1075Note: This is a six-day course that begins and ends in Camden Harbor, Camden, Maine. All reservations should be made through the schooner’s of�ce at 800-992-2218. www.schoonermaryday.com. There is space available for friends of participants who would rather not take part in the hands-on sail training.

2013 WOODENBOAT SCHOOL | www.woodenboat.com | (207) 359-465112 2013 WOODENBOAT SCHOOL | www.woodenboat.com | (207) 359-465112

2013 Seamanship

THE PLEASURE OF SEA KAYAKINGExpert guidance for enjoying paddling in all types of water.

Choose from the following courses:

ELEMENTS OFCOASTAL KAYAKINGBILL THOMAS —JULY 14 – 20, AUGUST 4 - 10MIKE O’BRIEN —AUGUST 25 – 31 (FOR AGE 50 & OVER)

Selecting an appropriate kayak; safety skills; basic gear and equipment; transporting kayaks; paddling strokes; launching and landing; nautical charts and navigation; capsize and recov-ery skills; and better understanding weather and sea conditions are a sample of the many topics covered in this fully compre-hensive course. Good fun and a great education!

COASTAL TOURING& CAMPINGBILL THOMAS —JULY 28 – AUGUST 3

Choosing the right kayak and equipment; seamanship skills; safety and common sense; trip planning and navigating; pack-ing and keeping things dry; emergency repairs and rescues; and lots more. You’ll use the WoodenBoat School waterfront for three days and camp two nights on nearby islands. Perfect for the outdoor adventurer!

Perhaps nothing, absolutely nothing, conveys the joy of being a�oat quite so purely as a kayak. Thus, WoodenBoat School offers you a variety of outstanding opportunities in a world-class setting to learn and enjoy the art of this popular water sport. In a series of day trips, you’ll explore some of the most spectacular parts of the Maine coast. From the basics to tips on accomplishing more advanced sea kayaking skills, these courses and talented instructors will enable you to discover a new and exciting environment that beckons just off saltwater and freshwater coastlines everywhere.

RECREATIONAL PADDLINGMIKE O’BRIEN—AUGUST 11 – 17

Using a variety of all-purpose, stable, and roomy recreational kayaks and decked, double-paddle canoes, students will learn about different types and features of paddling craft; basic gear and equipment; paddling strokes and maneuvering; navigation; rescue slings; car-topping tips; and much more. A great week to develop con�dence and thoroughly enjoy open water paddling!

ADVANCED COASTAL KAYAKINGSTAN WASS —SEPTEMBER 1 – 7

An all-inclusive review of various strokes and braces; maneu-vering; techniques to handle wind, waves, and weather; rules of safety; Eskimo rolls and rescues; long distance paddling; and more. Designed for those individuals looking to gain skills, fur-ther their understanding of gear, and spend more time on the water. This is not an introductory course; previous kayaking experience is required.

Tuition: $750 (For each course)

Note: Kayaks, paddles, sprayskirts, and life jackets will be pro-vided by the School, but students are welcome and encouraged to bring their own if desired.

Note: Students should be in good physical condition, have reli-able balance and agility and the ability to enter and exit kayaks from beach or rocky shore.

2013Boatbuilding & Woodworking

The key to deciding which class best suits your needs is to carefully read each course description, which incorporates much information about the course’s content and level of experience. We’ll also be glad to help you with any ques-tions you may have after reading this catalog, and if need be we can put you in contact with our instructors. Choosing the right course means that you will be satis�ed, appropriately challenged, and among others whose goals and abili-ties are similar to yours. For those of you looking for a great introduction to traditional wooden boat construction, we recommend: FUNDAMENTALS OF BOATBUILDING, INTRODUCTION TO BOATBUILDING, BUILDING THE ADIRONDACK GUIDE-BOAT and BUILDNG A DORY. If you are interested in a cer-tain type of construction, there is plenty to choose from. You’ll �nd various courses in the following construction

HOW TO CHOOSE THE BEST BOATBUILDING COURSE FOR YOUmethods: plank-on-frame, plywood-epoxy, strip-plank, stitch-and-glue, and much, much more. You’ll also �nd a wide variety of courses in which a class or in-dividuals will build canoes or kayaks.

A fair number of students are in-terested in taking a series of courses, with a goal of becoming more pro�-cient or even working toward a career in boatbuilding. We suggest consider-ing the following sequence: LOFTING; FUNDAMENTALS OF BOATBUILDING; BUILDING HALF MODELS; ELEMENTS OF BOAT DESIGN; then one or more courses that focus on a particular design or type of construction.

Many of our shop courses are designed for beginning, intermediate, or experienced woodworkers; a wise choice based on skill level can determine how much you may bene�t from the course. Again, take time to read each course description carefully.

13Celebrating 33 Years of WoodenBoat School

The key to deciding which class best suits your needs is to carefully read each course description, which incorporates much information about the course’s content and level of experience. We’ll

-tions you may have after reading this catalog, and if need be we can put you in contact with our instructors. Choosing the right course means that you will be satis�ed, appropriately challenged, and

-ties are similar to yours. For those of you looking for a great introduction to traditional wooden boat construction,

FUNDAMENTALS OF INTRODUCTION TO


2013 Boatbuilding...FUNDAMENTALS OF BOATBUILDINGThe theory and practice of classical boatbuilding.GREG RÖSSEL — JUNE 2-15, JUNE 30-JULY 13WADE SMITH — JUNE 16–29, SEPTEMBER 15–28WARREN BARKER — JULY 14–27

Fundamentals of Boatbuilding is the core curriculum of our boatbuilding courses and our most popular offering. This series deals generally with the whole craft of boatbuilding, speci�cally with wooden boats, and most spe-ci�cally with plank-on-frame small craft.

We tend to build dif�cult boats in these classes—round-bilged, carvel and lapstrake-planked types—because if you can build one of these, you can build almost anything. Ideally, each class will start one boat, work at planking another, and �nish a third. The emphasis is always more on learning than on pushing through a project. Each session combines daily discussion periods with an abundance of practical work. Usually you’ll start out talking about boat plans and design, and how to develop a project plan.

An explanation of lofting will follow, and everyone will get a chance to give it a try on the lofting table. (See LOFTING, as follows, for a complete treatment of this subject.) From there, it will be a continuous stream of boatbuilding lessons, both at the blackboard and on the workbench: how a body plan comes together; the meaning of a fair line; various types of small-boat construction; the right tools for the job at hand, and how to use them; different methods for planking a boat; discussions on fastenings, glues, woods, etc.; the tricks of steam-bending; techniques of lamination; and much more.

Molds and patterns are picked up, and stems and transoms assembled. Planking, fastening, caulking, fairing, �tting seats and risers, knees and breasthooks—each operation is carefully explained and supervised. You’ll �nd yourself working on your own and alongside others, on real boats or just for practice. If your class happens to �nish a boat, you’ll launch it, and that is some fun! You’ll �nish this course with a better understanding in your mind—and in your hands—of the boatbuilding process.

FUNDAMENTALS OF BOATBUILDING is open to everyone, although woodworking skills and familiarity with tools and with the language of boatbuilding really help students to get the most out of it.

Tuition: $1200 two-week course

ADVANCED FUNDAMENTALS OF BOATBUILDINGTaking it one step further.GREG RÖSSEL — SEPTEMBER 1-14

Many individuals, including alumni from our boatbuilding classes, are constantly looking for ways to continue their education in building classic small craft and taking the “next step” in working on more complex designs. Longtime boatbuilder/instructor Greg Rössel has designed just such a course to help those individuals meet their goals. As with our FUNDAMENTALS OF BOATBUILDING curriculum, this will be two weeks �lled with plenty of hands-on learning. Lofting will be reviewed, as will the steps involved in the construction of body plans. Various boat plans, a bit more intricate than you may have studied in the past, will be examined. Students will also be welcome to bring along their own plans for discussion. Consider these weeks spent with Greg as a great opportunity to get those questions answered that may have baf�ed you at home.

And you will be working on boats! Greg will have chosen a couple of designs that will prove to be both interesting and challenging. Setting up, framing, steam-bending, laminating, scar�ng, spiling, planking, fastening, fairing, interior and exterior joinerwork, sparmaking, centerboard installation, and various other details will be covered. Along with making plenty of wood shavings, daily discussions will take place on techniques, materials, and products, both old and new.

ADVANCED FUNDAMENTALS is a wonderful comple-ment to any earlier boatbuilding exposure you may have sampled. It will be a delight to those who take their boats and boatbuilding seriously, and it will certainly add to your versatility as a builder. Previous boatbuilding experience is required.


boat plans, a bit more intricate than you may have studied in the past, will be examined. Students will also be welcome to bring along their own plans for discussion. Consider these weeks spent with Greg as a great opportunity to get those questions answered that may have baf�ed you

And you will be working on boats! Greg will have chosen a couple of designs that will prove to be both interesting and challenging. Setting up, framing, steam-bending, laminating, scar�ng, spiling, planking, fastening, fairing,


2013... and WoodworkingLOFTINGMaking sense of all those lines and numbers.GREG RÖSSEL — JUNE 23-29, AUGUST 25-31

Without question, lofting is an essential skill for the boatbuilder. Once you’ve mastered it, you can at least start to build any boat for which there are plans. Moreover, you’re going to be able to interpret plans and better comprehend the shape of the vessel, and what the building process will be. Also without question, learning lofting can be intimidating and/or frustrating. Lofting is complex, and there are numerous ways to go about it. Lofting takes time and concentration, and a good teacher really helps (see WoodenBoat Nos. 110 and 111).

Greg thoroughly understands and enjoys lofting; and he has taught it repeatedly and in a variety of settings. He has a clear idea of how to present it, and how to help you master it. In this week you’ll discuss the written material that Greg has de-veloped, build half models, and—in teams—loft several small craft. We have a couple of boats in mind, but it is also possible that some students in the course can bring in their own plans (call us).

Tables of offsets, diagonals, buttock lines—all will be demys-ti�ed and will become for you the wonderful tools they are for understanding, discussing, and building boats. By the end of the week, you should be able to visualize, lay down, and talk boat plans with the best of them. This course is meant to dovetail with the two-week FUNDAMENTALS OF BOATBUILDING cours-es, three of which Greg will also teach, and in which one of the lofted boats will probably be started. If there is time, you’ll also take lines off a classic round-bottomed boat and draw up a set of lines.

Tuition: $750Materials: $52.50

ELEMENTS OF BOAT DESIGNLearn the principles and process—then practice on your own design.JOHN BROOKS— AUGUST 11-17

Would you like to understand how to design your own boat or gain a better grasp of how design affects a boat’s performance? Would you like to bet-ter read and comprehend the hull line drawings that appear in any number of marine-related publications? Would you like to explore the relationship of construction methods to hull de-sign—which works well with what? Would you like to think, eat, sleep, and discuss boats for a solid week? If so, you’ll �nd this challenging and fun course with talented boatbuilder and designer John Brooks to be right up your alley.

Whether you want to get a taste of the design process, be able to put your ideas on paper, or start down the road to becoming a profes-sional designer, this course will allow you to accomplish several things. You’ll dispassionately analyze the science of what makes a boat �oat and move, while gaining an understanding of the role art plays in boat design. You’ll learn what makes a boat seaworthy or not; performance oriented or not; and buildable or not. And you’ll start creating your own design, mainly working on the preliminary and lines drawings, as much as time allows. Before taking pencil to paper, you will research the type of boat you want to design, discuss your initial ideas with John, and learn how to start drawing on your own, using basic drafting skills and bringing them into the computer age.

Various building methods will be explored, from traditional to modern. Any technique can be used for each student’s own “dream boat,” from plank-on-frame to vacuum-bagged and epoxied veneers reinforced with exotic materials. John will also introduce students to how their boats can be built in alternative materials from their original choice. You will need to back up your project ideas with sound engineering principles, hydrostatics, and scantlings that re-�ect the intended use and life of the boat.

Students need not have any previous experience with boat design or mathematics; just a keen interest will do. The main focus of the course will be on understanding the concepts and principles that play a part in boat design and in developing an eye for aesthetics. In spite of modern technology, designing boats is still as much an art as it is a science. The eye and judgment of the designer are still the most important ingredients in any design. If each student leaves Brooklin with enough basic knowledge to design a good-looking boat that performs well, and a burning desire to go ahead and start another, then John will consider this week a success. You may even �nd a burning desire to go ahead and start another one!

Tuition: $750

Would you like to understand how to design your own boat or gain a better grasp of how design affects a boat’s

-ter read and comprehend the hull line drawings that appear in any number of marine-related publications? Would you like to explore the relationship

-sign—which works well with what? Would you like to think, eat, sleep, and discuss boats for a solid week? If so, you’ll �nd this challenging and fun course with talented boatbuilder and designer John Brooks to be right

Whether you want to get a taste of the design process, be able to put your ideas on paper, or start down the road to becoming a profes


2013 Boatbuilding...INTRODUCTION TO BOATBUILDINGA one-week primer on building small boats.BILL THOMAS— JUNE 16-22JOHN KARBOTT— AUGUST 18-24

There are many individuals out there who have decided that they would like to build their very own boat but don’t know how to get started. Many �rst-time builders have run into problems under-standing the process of what to do �rst and, as a result, soon get intimidated and the idea loses momentum. Bill Thomas and John Karbott, noted boatbuilders and teachers, invite anyone interested in wooden boats and woodworking to join them in either of these two six-day courses focusing on the skills and techniques used in basic boatbuilding. No prior boatbuilding experience is required; simply a desire to learn. If you want to build a good-looking, sim-ple sailing skiff, Bill or John can help you get started and guide you through the step-by-step procedures to taking on and complet-ing such a project on your own.

Bill has chosen one of Iain Oughtred’s lovely designs, the Skerrieskiff 17, as the boat students will construct during his course. This beach cruiser offers a great compromise between rowing and sailing qualities. We will be building a rowing version during the course. Using traditional boatbuilding methods, she is built of marine plywood over a strongback and moulds. John Karbott’s students will build two of his handsome 12½' Semi-Dory skiffs combining marine plywood, white oak, and Northern white cedar. Both classes will start with understanding boat plans and lofting and proceed through scar�ng, framing, planking, and

interior joinerwork. As with any one-week building schedule, there will be plenty for stu-dents to do as we �nish the boats.

As both skiffs take shape through each week, Bill and John will lead discussions in small-craft design, se-lecting a suitable design for the amateur build-er, setting up a one-

man shop, proper hand and power tool usage, and much more. Whether you have a hankering for traditional skiff construction like the Skerrieskiff 17 or the 12½' Semi-Dory skiff or are simply looking for a perfect introduction to wooden boat construction, you will thoroughly enjoy either of these weeks.

Tuition: $800Note: These are six-day courses ending Saturday afternoon.

BUILDING A DORYTraditional workboat construction with a master shipwright.WALT ANSEL— SEPTEMBER 8-14

Mystic Seaport’s bodacious Eastern-rig dragger ROANN (see WoodenBoat No. 204) needs a new dory to grace the top of her wheelhouse. Dragger dories, despite being lifeboats, had relatively short lives. They dried out, became catchalls for spare rope and fenders, and happily rotted away up in the wind and rain. Those draggers that sword-�shed during the late summer and early fall did exercise their dories retrieving sword�sh, but short of calamity, this was about the only use they got. ROANN’s dory is beyond recovery, and Mystic Seaport needs a replacement.

Following our successful halibut dory classes in 2011 and ’12, WoodenBoat School students will be building this 15’6” dragger dory with the same techniques. Over the �rst several days of class, we’ll build various parts. We’ll use wide pine boards, white oak frames, and plenty of copper clench nails. The bottom will be built up to pro�le and battened together with oak 1 x 2s. Five frame pairs will be built and screwed to the bottom along with the stem and transom. This assembly will be sprung down onto a strongback on the �oor to establish the proper dory bottom rocker. We’ll then start planking with the garboards �rst and work our way to the sheer using three to four planks per side, depending on available stock.

The emphasis will be on traditional boatbuilding skills all week, and John Gardner’s The Dory Book will be the class textbook. Students will be busy with millwork and hand tool shaping, making traditional caulking seams and caulking them, riveting with copper nails, and fastening dory lap planks with clench nails. Much of the building information will come from a scale half model, an ancient method that boatbuilders used in place of lofting. It’s remarkable that such a functional craft can have so much grace and beauty and yet be created from large straight boards, a few measurements, simple curves, and certain bevels. Come join Walt for an amazing, very satisfying, and productive week. You’ll learn more than you ever could have imagined!

Tuition: $800Note: This is a six-day course ending Saturday afternoon.

NEW


2013... and WoodworkingBUILDING THE ARCTIC TERNEpoxy-glued lapstrake plywood construction of a new Iain Oughtred design.GEOFF KERR— JULY 28-AUGUST 10

The Arctic Tern represents the latest re�nement of Iain Oughtred’s well-regarded �eet of double-enders. After working his way through various sizes and rigs and juggling Shetland and Norwegian in-�uences, he has tweaked his way to what he considers the best performer in the �eet. The Tern’s hull is a bit fuller and �atter amidships, carried farther aft than with her sisters; this allows for improved sail-carrying ability and for better windward per-formance. Adding to that performance is a close-winded, gunter sloop rig recalling the racing yoles of the mid-20th century.

At 18’2” by 5’5” or so, the Arctic Tern represents about 95 per-cent of a Ness Yawl, or perhaps 50 percent of a Caledonia, making her suitable for a crew of one to four people. Her weight of around 250 lbs will make her a joy to trailer and launch. She’ll row nicely when it’s calm, carry gear and a pair of happy campers, and make a striking daysailer.

Her construction is classic epoxy-glued lapstrake plywood, a technique Oughtred helped pioneer. Building the Arctic Tern will give you a working familiarity with techniques, materials, and the sequences not only for this design, but any of the other boats of the designer’s family of double-enders, and indeed with epoxy-plywood construction, no matter what design you might be contemplating.

We’ll start by looking at plans, discussing materials, then lofting and building molds. The building jig will be erected, stems will be laminated and shaped, followed by mounting and beveling the keelson and �oor timbers. Next we’ll confront many of the mysti-cal secrets of boatbuilding as we spile, pattern, scarf, bevel, and triumphantly hang six pairs of lapstrake planks. Outer stems, a keel, and a skeg will follow, and with a bit of artistic cleanup and fairing we’ll turn her over and begin �tting out the hull with bre-asthooks, rails, and a centerboard trunk. We’ll endeavor to com-plete the decks and bulkheads, and hope to build some spars and the rudder. We never know just how far we’ll get, but invariably we’ll have a sound, great-looking, nearly completed hull ready to be lifted onto a trailer for the drive home with a lucky raf�e win-ner. On the �nal day of class, Geoff will lead a discussion on prep and �nishwork, as well as thoughts and recommendations regard-ing trailers, sails, hardware, and equipment.


BUILDING THE PENOBSCOT 13Glued lapstrake construction of a beautiful plywood daysailer.ARCH DAVIS – AUGUST 4-17

Arch Davis and his lovely small boat designs have been well known to the readers of WoodenBoat magazine for a number of years. We are very excited to welcome Arch to our campus for the �rst time and invite you to spend two weeks with this innovative designer/builder constructing his latest design, the Penobscot 13.

In this course, students will build two of these �ne-looking lapstrake daysailers. She’s the little sister to two of Arch’s most popular designs, the Penobscot 14 and 17. It features the same glued lapstrake construction—with fore and aft stringers—which has proven so successful in the bigger Penobscots. The designer has introduced a number of modi�cations to simplify the build-ing process so that students can aim to complete the two boats and prepare them for painting in the two-week time frame. The Penobscot 13 is smaller and lighter than the 14 but possesses com-parable lines with similar characteristics under oars and sail.

On the �rst morning, Arch will review the plans with students and explain how the Penobscot designs were developed. Students will then get busy setting up the station molds, stem, and tran-som on a simple strongback. All the following stages of construc-tion will be covered – �tting the keel, sheer clamps and stringers, beveling and fairing, planking (including scar�ng plank stock to length), and cutting gains. Once the hulls have been completed and turned over, you’ll �t breasthooks, quarter knees, seats, and rails, and complete other �n-ishing details.

These two weeks will be a comprehensive intro-duction to Arch Davis’s unique method of glued lapstrake construc-tion and will leave stu-dents well equipped to tackle one of the bigger Penobscot designs, to build a Penobscot 13 of their own, or to tackle any other similar proj-ect. The course promises to be very rewarding to those participating and will bring plenty of satisfaction as these lovely craft come to life under their hands. And two very lucky students who win the raf�e on the last day of class will each be taking home a very beautiful boat that will provide enjoyment for years to come.


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The Arctic Tern represents the latest re�nement of Iain Oughtred’s

and turned over, you’ll �t breasthooks, quarter knees, seats, and rails,

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These two weeks will -

duction to Arch Davis’s unique method of glued

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dents well equipped to tackle one of the bigger Penobscot designs, to build a Penobscot 13 of their own, or to tackle

-ect. The course promises to be very rewarding to those participating and

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2013 Boatbuilding...TRADITIONAL WOOD-AND-CANVAS CANOE CONSTRUCTIONThe art of the canoe with a master builder. ROLLIN THURLOW— JUNE 30-JULY 6

Cedar-and-canvas canoes are coming back. Not only are they wonderful to look at and a pleasure to build, they also perform quite well. This construction method permits a clean, sharp entry and a subtle shape that is dif�cult to achieve with aluminum or �berglass. The century-old technology of clenching thin planks to steamed frames and then covering the hull with a tight canvas skin yields an amazingly �exible and rugged craft. And the ingenious forms developed years ago by companies like Old Town and E.M. White make the building process relatively quick and easy.

Rollin Thurlow has been building and using, writing and teaching about wood-and-canvas canoes for years. In this course, he will lead you through the complete construction of one traditional Maine Guide canoe, the 17’ Atkinson Traveler, and one traditional Maine �shing canoe, the 15’ square-sterned King�sher.

You’ll start by steam-bending the clear cedar ribs onto the two forms. While they cure, you’ll make up ash thwarts and prebend the stems and gunwales. Then comes the �tting and fastening of the planking—a good chance to practice hand-tool skills in a very satisfying process. Working this thin cedar is a real pleasure.

At week’s end, you will canvas the canoes in the traditional manner, using the “envelope” method, stretching the canvas drum-tight, tacking it in place, and �lling the outside weave with a special compound. Between steps, there may be time to carve your own paddle—a fascinating project unto itself. Three students will leave this course with a new canoe nearly ready for paint and varnish; all will leave with knowledge and experience of what is probably the most indigenous of American boatbuilding techniques, a process directly evolved from birchbark canoes and still very much alive today.

Tuition: $800Note: This is a special six-day course ending Saturday afternoon.

BUILDING THE ADIRONDACK GUIDEBOATLore, legend, use, and construction of a classic small craft.GEOFF BURKE— AUGUST 18-31

The Adirondack guideboat is one of the most sophisticated prod-ucts of American traditional boatbuilding. Once the common means of transportation in the Adirondack region of New York State, these exquisite craft were regularly used by guides taking sportsmen on camping and �shing trips. Rivalry—keen among the guides—produced a highly re�ned boat, ideal for its intended use.

This two-week course will be an in-depth study of guideboat lore and construction. Under Geoff’s experienced eye, students will build two 12’ guideboats of a model built by a Mr. Buyce of Speculator, New York, and designed by Jim Ritter of Saranac Lake, New York. While most guideboats were built “smoothskin,” Mr. Buyce preferred to plank this particular boat using the lapstrake method of construction, leaving the planks proud. The boats built in this course will be planked like the original, although “smooth-skin” construction will be covered as well.

Students will learn and practice a variety of procedures appli-cable to many types of traditional small-craft construction. Work will focus on the setting up and planking of two hulls, as well as the making of all the necessary accessories that go with a properly equipped guideboat.

Emphasis will be placed on historically accurate details and �ne craftsmanship. This popular class promises to be a full two weeks of passionate work and study of an American small craft that has attained almost legendary status. In what has become a tradition at WoodenBoat School, the new boats will be raf�ed off to two very lucky students on the last day of class.

Woodworking experience is required.


Cedar-and-canvas canoes are coming back. Not only are they

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2013... and WoodworkingGLUED-LAPSTRAKE PLYWOOD CONSTRUCTIONBuild Ellen and the Sundog Ski�—versatile, agile 12' sailing and rowing dinghies.JOHN BROOKS — JUNE 9-15

This very popular course focuses on the construction method of modern, small boats called for in many designers’ plans. During this week students will build the hull for two of John Brooks’s well-known designs, boats that feature light weight, resilient strength, permanent watertightness, and graceful lines. The Sundog Skiff is a great introductory project with a narrow, �at bottom and curved, lapstrake topsides. Ellen is a more complex design with all the structure and shape of a round-bilged hull.

During this captivating six-day course, students will start out making and assembling the backbone parts for the two hulls: transoms, inner stem, keelson and bottom. You’ll then learn how to prepare and scarf marine-grade mahogany plywood planking stock. John will explain how the building jigs are created, then show students how to attach the backbones and how to bevel the keelson and bottom in preparation for planking. Everyone will have plenty of opportunity to learn how to spile, make, and attach planks plus how to bevel the laps.

As the hulls are built, John will teach you his special methods and tricks that making the planking process go smoothly. He will also share many other ideas he has discovered while working in his own shop, a real bonus to anyone interested in learning the basics of modern wooden boatbuilding. John will also demon-strate ef�cient and elegant ways to use your hand tools and how to sharpen them—always a crowd favorite.

The goal of this course is to give everyone the skills they will need to take a set of plans with full-sized patterns and build a beautiful boat—especially the hardest �rst step, turning lines on raw paper and raw lumber into a solid, real hull. Plans for both boats will be available from John at a discount to his students. Please keep in mind that woodworking experience is required for this busy and varied class.

Tuition: $800Note: This is a six-day course ending on Saturday afternoon.

FINISHING OUT SMALL BOATSCreating neat woodwork and joinerwork.JOHN BROOKS— JUNE 16-22

Here’s a week that promises to be a ful�lling and challenging one, with plenty of opportunity to learn—with brains and hands—how to build the intricate parts and �nish out small open boats. The joinerwork of a small boat is particularly exacting because there is nowhere to hide slipshod work—no burying rough joints under decks or in cabinetry. John will teach you how to make elegant parts and gorgeous, tight-�tting joints for a boat you’ll be proud to varnish.

The course is designed to be a follow-up to all of John’s glued lapstrake hull building classes and very useful to anyone complet-ing a small boat. Many of the skills and techniques you acquire can be trans-ferred to big boats as well. Your instructor will start the week describing how to organize a project as complicated as a boat. Students will learn how to work from boat plans, drawings, or the lofting board. John will explain the versatility of various types of patterns and show you how to make them, as well as how to use them. He will also show you his special method of shaping complicated pieces, using routers with the patterns, that allow one to make accurate, duplicate parts easily and safely.

You’ll learn about making curved parts such as a laminated outer stem and steambent �oorboard frames. John will demon-strate methods for measuring and layout in the hull to accu-rately position interior parts and pieces. He’ll also explain how to accurately scribe and �t parts such as the breasthook, quarter knees, bulkheads, half frames, �oorboards, mast steps, and dag-gerboard trunks. And you’ll learn how and where to use epoxy and other glues, sealers and bedding compound; and to become familiar with woodworking in three dimensions with no right angles in sight.

Working both at the bench and in the boat, you’ll re�ne your skills with a wide array of boatbuilding tools, from planes, spoke-shaves, scrapers and chisels to the tablesaw, band saw, and router.

By the end of this busy week students will know what to do after �nishing the planking of a new hull—understanding not only the technical details of building the pieces and joints prop-erly, but how to create �ne, distinctive shapes and details that make a boat beautiful and truly yours. John’s course on GLUED LAPSTRAKE CONSTRUCTION is an excellent prelude to this par-ticular course. Woodworking experience, including experience with routers and �oor machines, is a requirement for this course.


The course is designed to be a follow-up to all of John’s glued lapstrake hull building classes and very

-ing a small boat. Many of the skills and techniques

-ferred to big boats as well. Your instructor will start the week describing how to organize a project as complicated as a boat.

This very popular course focuses on the construction method of


2013 Boatbuilding...MAKING WOOD TOOLSThe art of making traditional woodworking tools.JOHN WILSON— JUNE 30-JULY 6

For centuries boatbuilders made their own tools. Today, there is a revival in toolmaking, which will enhance your skills and delight you in a pride of ownership, The path to a �ne tool can take many routes. In this fascinating week, John Wilson will guide students through the various steps in crafting the wood body of a block plane, a spokeshave, and a jack plane. You’ll also learn a lot about blade making methods and actually make your own for each tool.

With each tool, John will explain how one can come up with the design parameters, modi�cations, and actual project layout. He’ll discuss appropriate materials that can best be used in making your own tools—the various woods, glues, and tool steels. Throughout the week, students will use a combination of precision measuring and marking tools, bench metalworking tools, and basic woodworking tools to craft each tool.

The average woodworker can make or modify tools to their own requirements with some guidance. After this week with John Wilson, students will have many of the skills and some newfound con�dence to continue on the exciting path of making and modifying their very own wood tools at home. And you’ll de�nitely have a whole new understanding of how tools are made.


BOATBUILDING & WOODWORKING JIGSDesigning and creating useful jigs and boatbuilding aids.JOHN BROOKS— SEPTEMBER 15-21

There are many times when the right jig will make a job building a boat easier, more accurate, and, as a result, help you build a better boat. The correct jig will also make the boat more fun to build.

Students in some of John’s past boatbuilding courses have always been fascinated by the vast array of useful and intriguing jigs that he brings to the classroom. Some of these devices are intricate, but most are very simple inventions that can make a complex job simpler. Many of them come from John Brooks’s 35-plus years of boatbuilding, cabinetmaking, and furniture and musical instrument building.

In this new course, you will learn the valuable skills in designing and building your own jigs to �t the problems you encounter in your own shop when building any boat or for other woodworking projects. Working with wood, metals and plastic, students will design and make devices for accuracy, safety, measuring, clamping, guiding tools, repetition, and quickness.

No matter what level of experience you bring to this course, you’ll sharpen your own woodworking skills while being challenged. Once you learn to think about the advantages of jigs, you’ll look at woodworking and boatbuilding with a new mind-set. At the end of this week with a professional boatbuilder and woodworker, you’ll leave with a toolbox full of essential jigs to take home and the skills to design more. And maybe you’ll �nd yourself looking at future projects anew, for interesting challenges, just so you can build a really cool jig. After all, a problem is just another excuse to create another jig.


For centuries boatbuilders made their own tools. Today, there is a

NEW NEW

There are many times when the right jig will make a job building a


2013... and WoodworkingBOAT CABINETRYPractical guidance on the planning and constructing of interior joinery.DAVE MERRIFIELD – JULY 28-AUGUST 3

Master woodworker and furniture designer Dave Merri�eld has designed a very useful and functional course for anyone interested in doing his/her own interior �tting out. The ultimate goal will be to develop practical cabinetmaking skills oriented toward boat work but also applicable to interior home projects. The variety of techniques covered, with an emphasis on curved shapes, will allow you to gain con�dence and be successful in a wide range of boatbuilding or cabinetry designs. While many hand tool operations will be covered, this course

is a machine-based woodworking experience.Plans for boat interiors can be much more complex than

for cabinets found in homes. At the start, Dave will introduce students to design, understanding technical drawings, accurate layout, and how to go about making their own designs on paper. You’ll then discuss the materials employed: various soft and hard woods, glues, sealants, and fastenings. Other procedures covered during the week will be scribing irregular shapes, veneering curved forms, bent lamination, and a host of time-tested joinery techniques.

For simplicity’s sake, each student will build his/her own curved-top, portable storage box, designed by Dave, that will be handy for the boat or home. The construction of the piece will highlight practical woodworking techniques and procedures that can easily be repeated in the average home shop. Practice will make perfect.

If you enjoy the challenge of creating something with your own hands and taking pride in your achievement, a week with Dave Merri�eld just might be the perfect �t. Previous woodworking experience is required.

Tuition: $750Materials: $63

BOATBUILDER’S HAND TOOLSMaking, restoring, and using traditional tools of the trade.HARRY BRYAN – JUNE 9-15

In spite of the ever-increasing number of power tools in the wood-working/boatbuilding trades, the foundation of the boatbuilder’s skills is still largely dependent on the use of hand tools. Hand tools bring you in close contact with wood, enabling the user to get to know and work with its grain structure.

Many of the pieces that make up a wooden boat are complex shapes employing compound angles and rolling bevels. Often it is more ef�cient to create these pieces with hand tools than trying to set up a machine that is not appropriate to the job at hand. This �ve-day course with well-known boatbuilder/designer Harry Bryan will focus on developing skills with hand saws, draw knives, chisels and slicks, auger bits and planes. You’ll build one of Harry’s boat designs and acquire skills, such as, cutting the complex angle on the end of a deck beam and having it �t �rst time. You will have the con�dence to cut a stem rabbet and make short work of a plank scarf using a slick and a smoothing plane.

Keeping these tools sharp is absolutely necessary for controlled, accurate work. Therefore, time will be spent presenting simple, straightforward methods for creating a razor-sharp edge. From set-ting and �ling a handsaw, to renewing the edge of a drill bit for cutting steel, we will learn to restore tools rather them toss them aside when they are dull. You’re invited to bring along any old tools that you feel may be candidates for restoring. Harry will also discuss where to ac-quire good tools, how to avoid wasting your money on cheap ones, and how to recognize and restore that jewel covered with the rust of neglect.

Making and modifying tools is a natural progression for the hand tool user. Students will learn about hardening and tem-pering tool steel, as well as saw-ing, �ling, and drilling to create precise shapes. There will be practice in the use of silver sol-der and rivets for joining metals. Each student will be encouraged to make a tool of their own during the week, such as a carving gouge, chisel, boatbuilder’s level, pencil divider, or if there is time, a slick or plane.

Hand tools are not a nostalgic holdover from the past. After this fascinating week with Harry Bryan, you’ll feel the direct connection between the craftsman and his work.

Tuition: $750

ting and �ling a handsaw, to renewing the edge of a drill bit for cutting steel, we will learn to restore tools rather them toss them aside when they are dull. You’re invited to bring along any old tools that you feel may be candidates for restoring. Harry

-quire good tools, how to avoid wasting your money on cheap ones, and how to recognize and restore that jewel covered with

Making and modifying tools is a natural progression for the hand tool user. Students will

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ing, �ling, and drilling to create precise shapes. There will be

-der and rivets for joining metals.


2013 Boatbuilding...FINE STRIP-PLANKED BOAT CONSTRUCTIONA guide to building small boats with wood strips and epoxy.NICK SCHADE— JULY 7-13, AUGUST 25-31

If you want to build a lightweight, rugged, and beautiful small boat, combining thin strips of wood with epoxy and �berglass will make a car-toppable, low-maintenance, and gorgeous vessel. Nick Schade has been building strip-built boats for over 25 years. He has written two of the standard texts on the subject, Building Strip-Planked Boats and The Strip-Built Sea Kayak, and his efforts have guided thousands of people through building their own boats using the popular strip-planked method.

In this six-day course, students will explore this method of construc-tion while building two very different boat designs created by Nick. In the July course students will build the Nymph pack canoe and the Night Heron sea kayak. In the August course students will build the Mystic River tandem canoe and the microBootlegger recreational kayak. Nymph is a small, extremely lightweight, easy to handle double-paddle canoe. Night Heron is an elegant, high performance sea kayak design that has found a place in the permanent collection at the Museum of Modern Art in New York City. The Mystic River 17’ tandem canoe is a wonderful example of a classic woodstrip canoe with graceful lines and a beautiful recurved stem. The microBootlegger 17 is an open-cockpit tandem kayak with lines reminiscent of a 1920s mahogany runabout. All four of these boats will provide an excellent overview of the strip-planking process.

Students will gain experience in a wide variety of techniques involved in this modern boatbuilding process. Strip-planking small boats uses thin cedar strips reinforced inside and out with �berglass and epoxy. The �nished boat is lightweight, strong, and beautiful. The �berglass fabric is absolutely transparent and allows the beauty of the wood to shine through. Students will learn how to work with the wood strips and �ber-glass fabric and epoxy. With the open canoes we will mount inwales and outwales, breasthooks, thwarts and seats. On the kayaks we will make the deck and hull, join the two together, and make the cockpit, coaming, and hatches.

Day One will have students fairing up the forms, shaping the inner stems, fabricating the kayak coaming and canoe backrest, and getting a start on the planking. Tuesday will have us continuing with planking, in-stalling stems, and working on hatches and gunwales. Before you know it, we will start sanding the hull and deck and applying �berglass on Wednesday. On Thursday, the kayak and canoe will come off the forms. After fairing the insides of the hulls, carbon-Kevlar hybrid fabric will be laid-up on the interiors. Come Friday, students will start �nishing up the canoe while the hull and deck of the kayak are joined together. The class wraps up midday on Saturday with �nal �berglass work and completion of details on both boats.

Throughout this course, Nick will take time to discuss the many variations on the strip-building process that students can use on their own boatbuilding projects. After a week of �ne craftsmanship and fun, we’ll step back to admire two stunning boats that will raf�ed off to two lucky students.



2013... and WoodworkingWOODEN BOAT RESTORATION METHODSThe rebuilding process, continued.WALT ANSEL— JULY 28-AUGUST 10

Our 2012 steam launch restoration class got off to a fantastic start last August. The intention was to take a museum restoration approach with proper documentation, careful disassembly, and thoughtful structural replacement on a lovely 24’ fantailed steam launch built around 1900. The �rst two days were spent removing rubrails, coamings, trim, and interior structure so that molds could be built to support the hull when it was inverted. Large-format photo documentation was carried out to preserve details and construction sequence.

The launch’s backbone members—keel, stem, horn timber, and shaftlog—were rotted beyond recovery. Their condition was so poor back aft that much information, such as basic shapes and rabbet locations, was lost. It was decided to lift the lines off the boat and loft her shape full-size onto a lofting table. This allowed Walt and students to draw the new backbone on the table and make patterns and parts with great accuracy. To record section shapes, they used

a large plywood framing square mounted on a wooden beam that could be slid down the length of the hull to each station location, where a joggle stick was used to locate section points. Fairing was done with the long lines on the lofting board. This was carried to a point of completion so that a table of offsets and scale drawings could be created in this year’s session.

An entire new backbone assembly was built of white oak with a laminated mahogany stem knee. Rabbets were cut and parts were connected with handmade bronze bolts. On the �nal day of class, students bolted

the stem and keel together, mating the original stem top to a brand-new forefoot. The perfect ending to an amazing two weeks!

Walt promises that this year’s class will be extremely interesting and educational. We’re going to pattern and create 15 �oor timbers. These will be bolted to the keel and screwed to the planking. The launch will then be turned over and the steam-bent frames replaced and clench-nailed to the planking. There will be plenty of planking repairs, which should be challenging, as the boat is strip-planked with edge nails. We’ll also replace the rudder and tapered rubrails, and repair the inwales and sheerstrakes. It’s guaranteed to be another fascinating two weeks for anyone interested in an advanced restoration class with particular emphasis on wooden boat structural problem solving.


SMALL BOAT REPAIRSFiguring out what’s wrong and how to �x it right. ERIC BLAKE— AUGUST 25-SEPTEMBER 7

The repairing and rebuilding of wooden boats is a journey that can provide great personal satisfaction. In the process, you’ll become familiar with your boat’s intricate construction details, and come to appreci-ate the careful craftsmanship that transformed the origi-nal raw timber into the boat you love. The challenge of repairing and rebuilding can frustrate beginner and pro-fessional alike. Conquering the complications of “bring-ing her back” can be more re-warding than building new, especially when the result is to return a classic to its calling—sailing, cruising, rowing, or �shing.

There are also excellent practical reasons to acquire this skill. Wooden boat repair is the trade in demand at boatyards around the country. Thoughtful and skillful repair can help you keep a good boat alive or take advantage of the bargains available in the used-boat market. Our repair courses can help you gain the con�dence to undertake a serious rebuild project and develop the abilities that will lead to a job well done.

Repair solutions are unique for every project; they depend on the boat’s general condition, type of construction, and the time and materials available. From the very �rst day, this hands-on course will keep you busy with a wide assortment of repair problems. You’ll begin with a careful survey and analysis of the boat’s structure, leading to a practical repair plan—the crucial �rst step to a successful project. You’ll learn how to evaluate and then save or restore the boat’s shape. Your instructor, boatbuilder Eric Blake from Brooklin Boat Yard, will share numerous tricks used to carefully remove structural parts to be replaced; how to use patterns to transfer the shape to new wood; and spiling and measuring techniques. Plank refastening and replacement, broken frame repair, rot in the keel, stopping deck leaks, repairing transoms, and lots more will be discussed. You’ll practice various techniques necessary to these repairs, such as cutting scarf joints and �tting dutchmen, steam-bending frames, and laminating. And you’ll learn about the initial causes of the problems you might encounter, how they might be prevented, and alternate routes to their solution.

The “patient” boats for this course vary from year to year. Between students’ boats and a couple more from our collection, everyone gets to work on a wide variety of repairs. There is room for a few students to bring their own boats; please contact us �rst to discuss the logistics.

Whether you own a wooden boat, are thinking of buying one, work in a yard, or just enjoy solving problems with wood, this outstanding course with an accomplished boatbuilder may be just for you.


boat’s intricate construction -

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nal raw timber into the boat you love. The challenge of repairing and rebuilding can

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Figuring out what’s wrong and how to �x it right. Figuring out what’s wrong and how to �x it right.

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2013 Boatbuilding...BUILD YOUR OWN PLANK CONSTRUCTED POND YACHTBuild IDUNA, a vintage Marblehead-class pond yacht designed for radio-control.THOM McLAUGHLIN — SEPTEMBER 1-7

Pond yachts are exquisite small wooden sailboats raced in urban settings. In the height of their popularity, the 1920s to 1940s, they were a common sight in public parks. They conformed to class ratings and were raced in international competitions, including the 1936 Olympics. Today we admire them for their beautiful wood-work, simplicity of form, miniaturized �ttings, and their ability to be sailed without high maintenance costs or storage and slip fees.

In this course each student will be gaining experience in build-ing a hull for a Marblehead-class pond boat. This type of small sailboat originated in 1932 with the minimal design requirements of 50" LOA and 800 square inches of sail area. Over the years, this type of pond boat became the premier example of a racing pond yacht. IDUNA has been designed by the course instructor, but it exempli�es the classic qualities of boats from another era. IDUNA’s form is inspired by the 1930’s CHEERIO designs of John Black, which garnered him a medal in pond yacht racing at the 1936 Olympics. When fully rigged for sailing, the pond boat is over 7' tall, which makes it very impressive from shore when under sail. The boat can be easily dismantled for transport in keeping with the origin of the 50" length, which was to facilitate �tting the boat into a 1930s car rumble seat.

Working from lines drawings, each student will work on their own hull using the tapered plank building method. Computer Numerically Controlled (CNC) parts for the strongback, molds, and keelson will be used to facilitate the initial building steps. Several past students have gone on to build other designs of pond boats using methods learned in this course. Besides actually build-ing a pond yacht, this class is excellent for someone interested in building plank-constructed examples of model boats or being exposed to the fundamentals of full-sized boatbuilding.

This course will be an intense six days of building and learn-ing through demonstration and practice. Even though some of the furnished materials will be pre-cut before the course, this is not a kit boat, and the student will learn to make decisions based on reading blueprints and developing an eye for form, along with enhancing building skills. Also, instruction on decking, painting, mast and boom construction, rigging hardware, and radio-control devices will occur during the week to ensure ease of completion of the sailboat. A number of completed class boats will be available for sailing during the week. If you can schedule an extended stay at WoodenBoat School, join Thom for next week’s VINTAGE POND YACHTS—PART II course. While no previous boatbuilding experi-ence is needed for this class, a basic understanding of simple hand tools and fundamental woodworking is a requirement.

Tuition: $800Materials: $309.75Note: This is a six-day course ending Saturday afternoon.

VINTAGE POND YACHTS – PART IIFurther work toward completion of your previously started pond yacht.THOM McLAUGHLIN— SEPTEMBER 8-14

This week is intended to provide the environment and guidance for you to return to Brooklin and resume work on the pond yacht you started here at WoodenBoat School. Students from Thom’s building courses from the past 15 years working on the 36” Acadia or Brooklin hulls, or any of the 50” Vintage Marblehead pond boats Naskeag, Peony, Rusticator, or Iduna are invited to partici-pate. Completion of the hull in BUILDING PLANK-CONSTRUCTED POND YACHTS is only halfway toward getting your model ready to sail, and Thom will re-energize the group in getting everyone much closer to completion.

Construction methods and tasks covered in this course will include epoxy sheathing of the hull, completion of the �n and rudder, fabrication of internal support beams, decking, electronics installation, sail control device, manufacture of mast and booms, mounting �ttings, and �nal rigging. Perhaps not every class mem-ber will accomplish all of these steps, but at a minimum you will depart this week inspired with speci�c production knowledge and with the con�dence to �nish your model at home and get it out sailing.

The course materials fee will cover the cost of the wooden ma-terials for all of your boat’s deckbeams, mast, booms, deck, and electronic board. With Thom’s assistance and list of resources, students will be expected to bring along the electronics, appro-priate �ttings, and rigging items. As always with our pond yacht courses, students will have the opportunity to sail completed pond yachts on our waterfront or in local ponds throughout the week.


This week is intended to provide the environment and guidance


2013... and WoodworkingBUILDING HALF MODELSThe practice and pleasure of carving half models.MARK SUTHERLAND— JULY 14-20ERIC DOW— SEPTEMBER 22-28

There are few products of woodworking as exciting to behold as a well-done half model. It reveals the character of the boat it rep-resents at a scale that can be admired at a glance and appreciated for a lifetime. Half models are a wonderful way to remember a boat of the past or dream about one of the future.

Half-hull modeling is both a practical way to enjoy woodwork-ing with limited time and tools, and a tangible way to grasp the intricacies of boat plans. To carve for yourself and mount a half model is to forever capture a design in three dimensions.

In both of these weeks of hands-on participation, you’ll ex-plore the tools, techniques, and materials for half-model making from lines plans; the woods; the glues; the tools; the paints and varnishes.

Mark Sutherland’s course is geared toward the more experi-enced woodworker. Projects will be large half models in the 36” to 48” range, and students will choose between three designs taken from the works of Howard I Chappell—a �shing schooner, a coast-ing schooner, or a square-rigged ship. Eric Dow will have students working on two smaller half models from the collection at The WoodenBoat Store. The �rst part of Eric’s week will be devoted to carving one design, and the second part to carving a model of your own choosing.

Besides creating one or two models of your own, you will learn a lot about boat plans and gain a feeling for the long tradition of half-hull modeling—and go home with the ability to build more on your own.

Tuition: $750Materials: $105 for Mark Sutherland’s course (one larger model). $126 for Eric Dow’s course (two models and one set

of plans).

BUILD YOUR OWN BRONZE SALUTE CANNONWork alongside two master machinists.MICHAEL CALDWELL &DUKE McGUIGGAN — JULY 28-AUGUST 3

In this unique course, master machinists Michael Caldwell and Duke McGuiggan will teach students the skills required to build a simple muzzle-loading blackpowder salute cannon. This 12" highly polished bronze cannon is in the tradition of the famous L. Francis Herreshoff cannons that were (and still are) used to celebrate boat launchings and other special occasions.

Over the �ve days, your instructors will cover machine shop safety, tool bit sharpening, and all the necessary lathe skills need-ed to complete this beautiful project. These include boring, turn-ing, cutting, drilling and tapping threads, polishing, nameplate engraving, and much more. They will demonstrate each step of the building process as the cannons take shape. Students will also fashion a simple cannon carriage. The wheels will be bronze, and students can choose between either cherry and mahogany for the carriage body.

You can be one of the lucky students who will work alongside these master machinists. And at week’s end, each participant will have a working model that will be an attractive addition to any boat, pier, or backyard.

Tuition: $750Materials: $210 (includes cannon & carrying case)

NEW


2013 Boatbuilding...BUILD YOUR OWN GREENLAND-STYLE SKIN-ON-FRAME KAYAKA wonderfully simple and a�ordable boatbuilding project, ideal to do with a partner.MARK KAUFMAN— JUNE 23-29

Few kayaks can match the skin-on-frame type for simplicity, elegance, and performance. These kayaks are custom-�tted to the individual, bringing you closer to the water and the paddling experience.

During this rewarding six-day course, students will have the opportunity to build a replica of a traditional Greenland-style skin-on-frame kayak based on museum surveys. Participants will have a choice of building one of four different Greenland kayaks. Two are of the West Greenland style, and two are of the East Greenland style.

The West Greenland kayak has a �at, low aft deck with gracefully upsweeping ends, a pronounced V-bottom, and hard chines. The East Greenland kayak looks similar to the West Greenland kayak when viewed from above, but when viewed from the side it lacks the strongly upturned ends. The East Greenland kayak also has strongly sloped sides converging on a narrow, almost �at bottom. Unlike the West Greenland kayak that has a higher deck from the front than the back, the East Greenland kayak has a relatively level deck for most of the length and a lower pro�le than the West Greenland style.

Minor sizing adjustments will allow the builder to custom-�t the kayak. Traditional construction techniques will be blended with modern materials to create a kayak that is fast and light. The �nished kayaks, constructed from western red cedar with steam-bent white ash ribs and a stitched-on synthetic skin, will weigh between 25 and 28 lbs.

Instructor Mark Kaufman will create a materials/kit package that includes pre-machined western red cedar gunwales, stringers, deckbeams, stems, white ash rib stock, laminated white ash masik deckbeams, �nished cockpit rim, seat slats, deck lines, synthetic skin, urethane coating, and a partially preshaped western red-cedar paddle blank.

Skills Mark will teach include procedures for accurately replicating the original pro�le of the kayak from line drawings, layout procedures, mortise-and-tenon construction, steam-bending, hull shaping, sewing on a skin, and, time permitting, carving a Greenland-style paddle.

Mark promises a fun, fast-paced, intensive week as each kayak takes shape. Students can expect some long, very productive days so that each day’s goals can be met, and by the end of the week each participant will have a stunning kayak that is ready for the water.

Tuition: $825 (partner: $400)Materials: 16’4” West Greenland kayak–$1102.50 17’10” West Greenland kayak–$1155.00 16’6” East Greenland kayak - $1102.50 18’8” East Greenland kayak - $1155.00Note: This is a seven-day course that begins on Sunday morningand ends the following Saturday afternoon.

BUILD YOUR OWN WILLOW/QUICKBEAM SEA KAYAKTwo easy-to-build, all-purpose stitch-and-glue sea kayaks.BILL THOMAS— SEPTEMBER 8-14

Boatbuilder and designer Bill Thomas has spent the last 35 years working with wood; the last 20 years paddling and building boats. He’s been teaching boatbuilding classes since 1998. During this time he has tried out numerous kayaks, each of them someone’s idea of the perfect boat. Like many folks who spend considerable time on the water, Bill started dreaming, drawing, engineering, and constructing designs and models of his own and eventually arrived at the Willow sea kayak, a great boat to paddle . Students will have the choice of building the 17'7" Willow sea kayak or another of Bill’s designs - the 17'9" Quickbeam. Willow is suit-able for paddlers and gear loads up to 300 lbs.; Quickbeam will accommodate taller paddlers and carry larger payloads. Feel free to contact Bill if you have any questions about the boats. Both are built by the stitch-and-glue method, using 4mm okoume plywood and epoxy. The kayaks feature cambered decks for strength, ease of construction, and beauty. Laminated deckbeams grace both in-teriors. The hulls are sheathed inside and out with 6-oz �berglass cloth. Each boat has a keyhole cockpit sized to take a standard sprayskirt. Adjustable footbraces and proper seats come with the kits. There are bulkheads and deck hatches, with the option of a day hatch. The weight of the �nished boats is approximately 45 lbs., much lighter than similar �berglass or plastic kayaks.

Bill has introduced enough rocker to allow control in big seas and surf, with a long waterline providing straight tracking. Hard chines assure easy, safe turns. A rudder will not be needed but can be added if the builder would like to have one. In touring kayaks such as these, Bill feels it is ease of control and stability that guar-antee safe and enjoyable paddling. Boats with low wetted surfaces may have a high top-end speed, but keeping them upright and tracking straight can make for a long day.

You don’t necessarily need to be an accomplished woodworker to build a kayak. With a few basic carpentry skills, you’ll be up for the challenge. With a little patience, lots of enthusiasm, and expert guidance from your instructor, you can build a beautiful boat.

Tuition: $800 (partner: $400)Materials: Willow–$1296.75 Quickbeam–$1333.50Note: This is a six-day course ending Saturday afternoon.


2013... and WoodworkingBUILD YOUR OWN ANNAPOLIS WHERRYExperience the ultimate in a recreational, open-water pulling boat.GEOFF KERR — SEPTEMBER 15-21

In this six-day course, each student will build an Annapolis Wherry from a Chesapeake Light Craft kit. The Wherry is designed after the graceful 19th century livery boats used on the River Thames. She is, however, lighter and slimmer, combining breathtaking grace with thoroughbred performance under oars. Solid stability, sea-kindly lines, a buoyant bow, and ample �are make the Wherry a natural choice for rowing in choppy water. It is designed around a sliding seat and, in the hands of an experienced oarsman, cruising speeds easily reach 5 to 7 knots. The Annapolis Wherry (see Small Boats 2007) may be unsurpassed as a rowing trainer, exercise boat, long-distance cruiser, or open-water racer.

The boat is made of 6mm okoume plywood with 9mm okoume plywood frames, thwarts and �otation tanks. Outwales, breasthook and quarter knees are solid mahogany. The Annapolis Wherry is built using the LapStitch™ construction technique. Traditional lapstrake boatbuilding employs molds over which planks are nailed or riveted together. By using precision-rabbeted, computer-cut plank shapes and frames which double as molds, a CLC Lapstitch kit boat is wired together just like a stitch-and-glue kayak. When glued with small epoxy �llets, the planks create a stiff and strong hull that will last for �fty years.

The pre-cut hull planks are scarfed together, and then connected to the frames and each other with copper wire stitches, then �xed in place with epoxy �llets. Next come thwarts, knees, wales, and air tanks. Fiberglass cloth on the bottom, inside and out, provides abrasion resistance. The instructor will also discuss the proper way to sand and paint or varnish your boat, and will explain sliding seat installation.

At the end of an absorbing week, students will have learned about stitch-and-glue basics, including epoxy work, �berglassing, and laminating. Building a LapStitch™ boat is easy, but assembling an 18' boat in a week means a tight schedule, and you’ll be spending plenty of time in our shop. It will be an exciting week with an outstanding boatbuilder to guide you through your project!

Tuition: $800 (partner: $400)Materials: $1495.20Note: This is a six-day course ending Saturday afternoon.

BUILD YOUR OWN SHELLBACK DINGHY OR NUTSHELL PRAMBuild an ideal dinghy in one busy, satisfying, and fun week.JEREMY GAGE— JULY 21-27

The original Nutshell Pram was designed by Joel White to offer as much beauty and purpose as we could imagine in less than 8’ of length. Eventually, a 9’6” version was designed, and both prams have been wonderful successes. The 11’2” Shellback dinghy soon followed, and all three of Joel’s creations turned out to be easily built, strong, light and lovely

dinghies for oar and sail. Thousands of them have built and enjoyed over the years.

As a modern, all-around small boat, or an easily cared-for-tender, the Nutshell and Shellback seem pretty hard to improve upon. The boats provide an education in the �ne points of sailing, rowing, and sculling for sailors of all ages.

In this course, individuals or pairs of students will assemble a Nutshell or Shellback kit using the glued-lapstrake method of construction under the guidance of professional boatbuilder Jeremy Gage. It’s an ideal undertaking for a “team”—say, a husband and wife, grandparent and grandchild, father and son or daughter, brother and sister, or just good buddies. You’ll �nd this to be a busy week so come prepared to work! There’s plenty to do building one of these elegant, little daysailers, and you’ll �nd that the week goes by quickly.

Although you might not completely �nish your boat here, Jeremy will make sure you get through the hardest steps, learn many basic skills of woodworking, and have a good time in the process. Prior woodworking experience is extremely helpful but not required. And by week’s end, You’ll be the proud owner of a lovely, versatile craft for you or your family to either row or sail, along with achieving the satisfaction of building something both beautiful and practical.

Tuition: $800 (partner $400)Materials: 7'7" Nutshell $2073.75 (rowing) $2609.25 (sailing)

9'6" Nutshell $2115.75 (rowing) $2651.25 (sailing)11'2" Shellback $2126.25 (rowing) $2672.25 (sailing)

Note: This is a six-day course ending Saturday afternoon.

The boat is made of 6mm okoume plywood with 9mm

The original Nutshell Pram was

NEW


2013 Boatbuilding...BUILD YOUR OWN NORTHEASTER DORYThe elegance of a traditional workboat in stitch-and-glue constructionDAVID FAWLEY — AUGUST 11-17

A dory is a lot of boat for the money, which explains the enduring popularity of the type over the last 150 years or more. Graceful round- sided lapstrake dories like this 17-footer were once the primary recreational craft on the New England coast. In this six-day course, you’ll assemble a faithful reproduction in just a week, using marine plywood and epoxy. Capacity is three adults, and you can add a sailing rig if you choose. Enjoy fast rowing with one

oarsman or two, or add a sliding-seat unit.This very popular John C. Harris design uses Chesapeake

Light Craft’s patented LapStitch™ process, which yields boats of 19th-century appearance but 21st-century weight and durability. More than 11 years after the �rst CLC LapStitch™ models, the Northeaster Dory enjoys numerous re�nements for faster, easier, prettier, and stronger construction. Just as in the original dories, we begin with a sturdy �at bottom, erect frames, and then add planks in a single day. A handsome timber rail adds stiffness, and the structure is further reinforced with epoxy and �berglass. Solid timber seats feature alternating Spanish cedar and cypress strips, which will look great under varnish. All plywood is marine-grade okoume.

The impulse for this new design was the desire for a fast but safe and dry rowing craft, for exercise during Maryland winters on the creeks near John’s Kent Island home. Simple and sturdy, the dory can live in or out of the water, ready to go in any condition of wind and wave. Dories are great load-carriers, and the Northeaster Dory is no exception. The maximum payload is 800 lbs.

By the end of this exciting week, hulls will be assembled, ready for sanding and painting at home. If there’s time during the class, those who elect to add the traditional dory sailing rig may get started on that option. Come join John, a leading designer in the wooden boat community, and experience the satisfaction of building your very own beautiful dory.

Tuition: $800 (partner: $400)Materials: $1491 (rowing), $2644.95 (sailing)Note: This is a six-day course ending Saturday afternoon.

BUILD YOUR OWN SASSAFRAS CANOELapStitch construction of a lovely 12’ solo or 16’ tandem ultralight double-paddle canoe.JOHN HARRIS — AUGUST 18-24

Today many folks often think of wooden canoes as being strip-built, but lapstrake canoes have an even longer history. The legendary Rushton lapstrake canoes of the 1880s are considered the pinnacle of the canoe builder’s art. Lapstrake construction permits very stiff and light hulls with a minimum of �berglass. The nice sweep of the plank adds visual interest and knocks down spray.

In this course you can choose to build either a 12’ Sassafras solo canoe or a 16’ tandem. You’ll start with a Chesapeake Light Craft kit and assemble the hulls using the LapStitch method. The planks are fastened together temporarily with copper wire “stitches,” and then the hull is stiffened with epoxy. Cedar rails are added, and the lightweight �berglass cloth is applied in high-wear areas for ruggedness. Everything is sealed in epoxy for a lifetime of low-maintenance enjoyment.

The Sassafras 12 is what’s known as a “pack canoe,” At less than 30 lbs, you can walk it into the wilderness to a secret �shing hole. Keep it on top of your car for spontaneous solo explorations of lonely creeks or bays. Capacity is 275 lbs. The Sassafras 16 will easily handle two adults and a decent pile of kids or gear. Take it out for Saturday afternoons or multi-week camping expeditions.

The Sassafras canoes have been built by the hundreds and have been regulars at WoodenBoat School since the 1990s. In recent years, both models were extensively re�ned by designer and boatbuilder John Harris for easier construction, better handling, and bigger payloads.

This is a wonderful opportunity for canoe lovers to build and go home with a high-performance wooden boat and gain a nice set of new boatbuilding skills. And it’s a great project for the �rst-time builder or the old pro.

Tuition: $800 (partner: $400)Materials: 12' - $1017.45 16' - $1180.20Note: This is a six-day course ending Saturday afternoon.

oarsman or two, or add a sliding-seat unit.

The Sassafras canoes have been built by the hundreds and have


2013... and WoodworkingSTITCH-AND-GLUE BOATBUILDINGLearn introductory and advanced modern plywood boatbuilding techniques suitable for simple or heavy-duty boats.JOHN HARRIS— JULY 7-13

The “stitch-and-glue” construction method is the easiest way to build a boat, as tens of thousands of amateur boatbuilders will testify. The approach, which emphasizes the use of epoxy adhesives and strategic �berglass reinforcement combined with marine plywood, is ideal for �rst-timers. But like so many things, it’s easy to do but hard to do well. This class is about how to do it well.

The stitch-and-glue techniques date back to the advent of modern adhesives in the 1960s. The basic process involves prefabricated plywood parts, which are stitched together with loops of wire, then glued with epoxy to create rigid and

seaworthy hulls. The process dispenses with lofting, elaborate molds, and much of the complex joinery of traditional wooden boat building.

While the method is beloved of amateurs, in recent decades professionals have seized on this type of construction as a way to create beautiful free-form hull shapes with amazing strength and light weight. While still bene�ting from the speed and ease of stitch-and-glue boatbuilding, pros deploy sophisticated techniques that result in optimized structures and glittering �nishes.

As the owner of Chesapeake Light Craft, John Harris has shipped 24,000 stitch-and-glue kits and built hundreds of boats in classes and in his own shop. In this class, students will build a sprightly 16’ multihull of John’s design called the Outrigger Junior. This ultralight and ultra-fast sailboat offers many opportunities to focus on the �ner points of stitch-and-glue construction: perfect hand-drawn �llets that look like they were molded in place; fast and clean �berglass sheathing and reinforcement; the use of advanced materials like peel-ply and carbon �ber; high-performance foil construction; and hollow wood-epoxy spars.

Whether you’re building your �rst boat, or looking to learn the advanced tricks that the professionals use to get “showboat” �nishes, this one-week class will advance your abilities to work with wood, epoxy, and �berglass. And the boat we build together will be raf�ed off at the end of the week to one very lucky student!

Tuition: $750

seaworthy hulls. The process dispenses with lofting, elaborate

BUILD YOUR OWN SHEARWATER SPORT KAYAKA versatile, durable, easy-to-build kayak designed for both the recreational and serious kayaker.ERIC SCHADE — JULY 14-20

Is there a perfect kayak? You can’t have it all in one kayak. For speed, you want a hull that is long and narrow. For comfort, you want broad beam and a big cockpit. For maneuverability and ease of handling, a short kayak is desirable. Artful compromise is the mark of good design, and Eric Schade’s 14'6" Shearwater Sport is a great combination of kayak virtues.

For paddlers with longer legs (or stiff knees) who want an easy entry and egress, Eric speci�ed a 34"-long cockpit. Standard spray skirts will �t, and the Shearwater Sport is out�tted with all of the features expected in a high-performance kayak: knee braces, hip braces, and a low aft deck for those who might want to roll the boat.

The compact Shearwater Sport gives up nothing in cruising speeds to longer, skinnier traditional kayaks, and it’s still more than fast enough to accelerate onto waves for sur�ng. Indeed, many paddlers will build the Shearwater Sport just for sur�ng.

For less adventurous paddlers, the Shearwater Sport offers the perfect compromise of light weight, sharp West Greenland handling, effortless cruising speed, and an extra-large cockpit for comfort. The shorter length means easier construction, storage, and cartopping. It might just be the “one kayak” that does almost everything well. Watertight bulkheads and �ush-mounted deck hatches are standard; so many builders will camp-cruise in the boat.

Built from a Chesapeake Light Craft kit, the Shearwater Sport

uses all of the most advanced wood-composite techniques. Stitch-and-glue plywood construction has come a long way! Computer-cut hull panels are cut from marine-grade okoume for the hull and dark red sapele for the deck. The class begins with the assembly of a “puzzle” of pieces into an elegant kayak shape. The structure is carefully and neatly reinforced with epoxy and �berglass for rugged use on rocky beaches. Eric will help students bring up a smooth �nish, ready for varnish, and install �ush hatches in the decks. Only light sanding followed by varnishing remains to be done at home.

Tuition: $800 (partner: $400)Materials: $1102.50Note: This is a six-day course ending Saturday afternoon.


2013 Boatbuilding...CARVING WATERFOWLLearn shallow relief carving along with decorative decoy techniques.JERRY CUMBO— JUNE 2-8

Carving wild birds can be exceptionally satisfying and enjoyable, but it is likely to be a new or different and somewhat challenging experience for many woodworkers. In this new course taught by Jerry Cumbo, students will gain a better understanding of woodcarving and how to gain the skills associated with this art form.

You’ll learn simple and straightforward tooling techniques and methods for achieving two different and beautiful carvings. The �rst class project will be a shallow relief carving of a New England shorebird. For simplicity’s sake, Jerry will have on hand three bird designs for students to choose from. To begin, he’ll demonstrate basic carving tool use and sharpening, along with which woods are appropriate for carving. Moving on to drawing, design, and layout, students will learn to develop an eye for a �nished piece from the original blank or block, and how to formulate a well-thought-out carving strategy for their own project. Using a variety of carving tools and knives, and a small amount of time with a router, each student will practice carving techniques before starting on their chosen piece. Patience and practice make perfect, and, as the week slides by, students will gradually gain the skills and con�dence to create a �ne-looking relief carving.

Midweek, Jerry will also introduce students to the steps in creating a freestanding sculptural piece—an Atlantic Coast shorebird decorative decoy. A bandsaw will replace the router, but the majority of the woodwork will be done with gouges, rasps, and knives. Starting with a block of wood, you will go through the steps of drawing a pro�le of the bird, removing wood, redrawing your shape, and slowly developing a form. Wood responds to �rm but gentle coaxing, and you will alearn to work with patience and develop a rhythm in your work. Techniques in �nishing, details, painting, and mounting will also be covered.

If there is time, Jerry will lead a �eld trip to the Wendell Gilley Museum of Bird Carving in Southwest Harbor to provide a bit more inspiration. The more one knows about the construction of the things one carves, the better. At the conclusion of this week, students will not only leave with two beautiful pieces they’ve carved themselves, but with new skills and an eye for artistic expression and the harmony between nature and art.


WOODCARVINGIntroductory and advanced techniques for both �rst-time and experienced carvers.REED HAYDEN —AUGUST 4-10

Professional boatbuilder and woodcarver Reed Hayden offers students a stimulating look at decorative woodcarving during this week. Whether you are a casual hobbyist or a devoted craftsman, this week promises each participant very satisfying results using basic carving tools and woodworking skills.

Reed will introduce a variety of carving and woodworking techniques including design and drawing, incised lettering, low and high relief carving, overlays, three-dimensional projects, router work, and gold lea�ng. All of these procedures will enable students to produce elaborate carvings as well as integrate them into marine and residential applications.

For those individuals new to carving, one of the �rst projects will be a motif sign. Coupled with this exercise will be a decorative carved shell. Both of these projects will help the student develop a “good eye” toward visualizing various shapes and forms. As one’s carving skill and experience develop, so does that “good eye.” Having brought the motif sign to a point where it is ready for paint, students will be encouraged to explore other techniques. These may be incorporated into a project of their own design. Reed will provide plenty of examples of his own work and others for reference. For the more experienced carvers, Reed will offer more ambitious projects that focus on three-dimensional carving. All students are encouraged to bring any of their own carving projects they may want to work on in the course.

If you’ve ever had the ambition to design and carve your own work, this week might be just the one you’ve been waiting for. Complete with design advice, tool and wood selection, carving instruction, and �nishing techniques, Reed’s helpful course should provide immense satisfaction and inspiration.

Tuition: $750Materials: $89.25 for novice carvers; to be determined foradvanced carvers based on project.

NEW

2013... and Woodworking

31Celebrating 33 Years of WoodenBoat School

THE ART OF WOODCUTSAn intriguing woodworking project for the beginning or intermediate woodworker.GENE SHAW – JULY 21-27

Woodcut printmaking is a relief-printing artistic technique in which an image is carved into the surface of a block of wood, with the printing parts remaining level with the surface while the non-print-ing parts are removed, typically with gouges, knives, and chisels. It was created in Europe about 1400 and, throughout time, has gone through various levels of technical and artistic development among woodworkers around the world.

Gene Shaw, artist and master woodworker, has designed this cap-tivating course for individuals interested in learning how to create black-and-white woodcut prints. On Monday morning, Gene will introduce students to the proper use of carving tools, methods to sharpen them, and how to make a straight knife from a simple hack-saw blade. During the week, work will be done on both soft and hard woods, plywood, and linoleum blocks. There will also be an introduction to various papers, inks, and brayers. Printing will be by hand using a traditional Japanese barren (of several types) or a bamboo paddle, the instructor’s favorite.

A trip to a nearby gallery that exhibits woodcuts and wood en-gravings by a number of local artists will be planned early in the week to expose students to a wide variety of styles and provide inspiration. Gene will also take the class on several drawing excur-sions to some of the boat yards and shops in Brooklin to help stu-dents develop ideas and compositions to take back to the shop to translate into woodcuts.

Anyone interested in woodcarving and woodworking will be fasci-nated by this week with Gene, a very talented craftsman and artist. By the end of the course, everyone will have achieved a solid foun-dation for designing and producing high-quality woodcut prints in a small space using quality tools and materials.


ESSENTIALS OF FINE WOODWORKINGBuilding a dovetailed tool or utility box.JANET COLLINS – AUGUST 11-17

There are as many approaches to designing and making boating projects as there are woodworkers. In this six-day course with woodworker/furniture maker Janet Collins, students will learn the intricacies of �ne joinerwork in a project that will combine elegance with utility.

Each student will build a dovetailed box approximately 18"×10"×12" in cherry. Building the box will include learning to lay out and accurately produce hand cut dovetails, mitered base frames, wood batten hinges, as well as a discussion of ap-propriate handles or chest hardware available on the market.

Janet will �rst introduce students to the components of design-ing and laying out the chest. She’ll then move on to wood se-

lection, coping with wood move-ment, types of joints, and the correct procedures for gluing up material—solid wood for the box, lid, base frame and hinge battens. Hand tool selection, how best to

use them, and, most im-portantly, how to keep them sharp follows.

Day two will �nd students practicing the step-by-step process for cutting dovetails by hand and crafting the sides of the chest. Practice is the most es-sential component to

mastering craftsmanship. In this course you’ll learn from your mistakes and successes, and, above all, learn from your hands.

The base frame for the box will then be mitered, followed by the creation of wood batten hinges. Hardware will be installed bringing the woodworking portion of the chest to a close. Janet will cover wooden hardware fabrication along with �nishing, al-though time may not allow for any applications of oils, varnishes, or paint during the course.

It will be a very informative week with a very talented crafts-woman that everyone, even longtime woodworkers, will �nd en-joyable. And at week’s end, each student will take home a beauti-ful, handcrafted treasure chest that will last a lifetime. Previous woodworking experience is required.


Woodcut printmaking is a relief-printing artistic technique in which


2013 Marine SurveyingWHAT SHAPE IS SHE INA detailed study of boats.DAVID WYMAN, SAMS-AMS — JUNE 2-8

The more a boat owner knows about their boat, the safer it will be. Even a less than perfect boat in the hands of a knowledgeable boater—who understands and respects the limitations of the boat—can be perfectly seaworthy.

In this course taught by David Wyman, a marine surveyor with an outstanding reputation in the industry, students will learn how to inspect a boat and to assess its condition. David is also a small

boat designer and an avid boater, with many years of experience surveying all types of boats, as well as designing boats and consulting on construction, repair, and the operation of vessels. He’s seen it all.

This invaluable course is designed for an average boat owner who wants to learn more about their boat or for someone contemplating buying a boat. It is not meant to replace the need for a professional marine survey, but will help you understand what is involved in a survey and the basics of what to look for before bringing in a certi�ed marine surveyor. It will also help you choose a marine surveyor appropriate for your vessel should you need one.

Students will meet for daily lectures and discussions in our Boathouse, but much of the class work will be done in the �eld at local boatyards and shops. We will examine wooden hulls of traditional and modern construction as well as �berglass hulls. You’ll inspect boats from keel to truck and learn how to examine a boat and where to look for common problems caused by rot, corrosion, and general deterioration as a result of age or neglect. Solutions to problems and how they could have been prevented will be discussed. Propulsion, electrical, and plumbing systems will also be inspected.

In addition, David will cover topics that are important to insurers and lenders, such as the requirements set by the U.S. Coast Guard, the American Boat and Yacht Council (ABYC), and the National Fire Protection Association (NFPA).

Tuition: $750

INSPECTING FIBERGLASS BOATSA professional approach to assessing �berglass boats.SUE CANFIELD — JUNE 9-15

Fiberglass boats have problems that are as varied—and as dif�cult to detect, assess, and repair—as those associated with wooden boats. Hydrolysis, osmotic blistering, delamination, core deterioration, and a host of other complex problems can develop as a �berglass boat ages. Although some of these conditions may be purely cosmetic, many are ultimately of structural concern.

This course covers the various materials and methods used to construct and repair �berglass boats typically found on the used-boat market, e.g., hand layup, vacuum-bagging, and resin infusion. Attendees will learn how to detect hull and deck molding problems, and how to assess their effect on boat safety and value. Since �berglass moldings represent less than half of the cost of the typical sailing auxiliary or power cruiser, knowledgeable surveyors must also be familiar with all the other components of the vessel being inspected. As time permits, your instructor will also address hull and deck �ttings, spars and rigging, propulsion and controls, tanks, piping, electrical installations, and miscellaneous equipment.

Lectures and discussions will be held in the Boathouse classroom each morning, with visits to various local builders and yards each afternoon to observe fabrication methods and put your own surveying skills to use.

While this course is tailored to the needs of a practicing marine surveyor, it will also prove invaluable to those in allied work—including boat builders, repairers, insurance underwriters and adjusters, yacht brokers, and those in government regulatory agencies—as well as anyone who owns or is planning to purchase a �berglass boat.

Tuition: $750

“Everyone who works at WoodenBoat School is a special individual and a great host. I was impressed that each staff member remembered my name after my initial introduction. Your program is outstanding. I had no idea what to expect but all my hopes were far exceeded. Thanks for everything!”

R.H., Folly Beach, South Carolina

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2013Related CraftsMAKING FRIENDS WITH YOUR MARINE DIESEL ENGINEAn introduction to evaluating small marine diesels.JON BARDO — JUNE 2-8, SEPTEMBER 22-28

Realizing that the diesel engine powers the world, we are offering this course to provide you an in-depth view of the small marine diesel engine. Despite their apparent complexity, diesels are quite simple machines that can be given an almost inde�nite lifespan by painless preventive maintenance techniques and proper operation. Jon Bardo has had over 30 years of experience troubleshooting and rebuilding diesel engines from 16 hp to 2,400 hp, and has tailored a course that will meet the immediate needs of each student and his/her own engine.

During the week, students will be presented with a wide array of hands-on demonstrations and lectures designed to cover the care and repair of the small marine engine. Fuel systems, cooling systems, lubricating systems, electrical systems, exhaust and intake systems, and more will all be explored and thoroughly explained in layman’s terms. Mechanical problems are almost always the result of some human weakness or de�ciency, and Jon will create a “survival guide” for owners of diesel-powered watercraft to properly maintain their own power plants and extend the lives of the engines.

You’ll get plenty of grease under your �ngernails in this course as your instructor details correct operation of your engine from start-up to shutdown. Students will have a great chance to �nd out what to look for in troubleshooting common problems, and which repairs you can do yourself and which should be done by a professional mechanic. And if you should need repairs, Jon will teach you how to �nd and deal with a mechanic, and how to tell if you’re being taken care of or being taken for a ride. If you are one of the many boat owners who are interested in improving your understanding and ability and gaining con�dence in dealing with your motor, then come join Jon Bardo for a fascinating look at the marine diesel.

Tuition: $750Note: A copy of Peter Compton’s book Troubleshooting Marine Dieselswill be provided to each student at the start of the course.

intake systems, and more will all be explored and thoroughly explained

“Patrick Dole was superior! His background and currency on MARINE ELECTRICS, as well as his ability to teach, make him a perfect �t on the faculty of your school. It was an incredible course.”

B.E., Oxford, Michigan

MARINE ELECTRICSA thorough introduction to marine electrical systems.PATRICK DOLE —AUGUST 18-24

From electronic navigation to refrigeration, the complexity of, and stresses upon, the electrical and mechanical systems aboard pleasure boats have increased dramatically in recent decades. If you ask a room full of marine surveyors what boat systems are prone to the most abuse and degradation, one of the most frequent responses would surely be marine electrical systems. And if you ask a group of boaters what are some of their biggest fears in boating, sinking and �res would certainly top that list. With 50 percent of �res on boats attributable to marine electrical systems, it is certainly well worth the time to inspect your system and ensure it is up to the task of providing your needs in a safe manner. This introductory course will give you the necessary background and understanding of theory and standards, as well as training in practical troubleshooting so you can better comprehend your electrical system. You’ll learn about the importance of ABYC standards, and why marine designation is so important in your installation. And students will explore load balancing and energy budgeting. In addition to covering AC and DC systems, the course will also introduce students to galvanic corrosion and bonding systems, as well as lightning protection.

Upon completion of this course, each student will know where to �nd the appropriate information needed to make many repairs and upgrades themselves, and when to seek the services of an ABYC-certi�ed marine electrician. You will be able to discuss viable options with the electrician and have the con�dence to make better decisions as to the scope and extent of upgrades desired. And you will no doubt have a much more thorough understanding of the systems aboard your boat and better means to cope with their maintenance and repair.

Tuition: $750

2013 Related CraftsRIGGINGPrinciples and practices; tools and traditional techniques.MYLES THURLOW — AUGUST 4-10

Beyond its obvious value to such people as boatyard workers and bluewater cruisers, a working knowledge of good rigging is useful and enjoyable, sometimes even crucial, for anyone involved with boats. This week with Myles Thurlow, professional rigger from Vineyard Haven, Massachusetts, will prove indispensable to all those interested in gaining a fuller appreciation of rigging design and layout along with many do-it-yourself rigging operations. From splicing to mooring lines, from leather chafe protections to mast tuning, from �xing deck hardware to inspecting and maintaining a rig, students will have plenty of “hands-on” opportunities to come away with a broader understanding of rigging.

Myles’ course will be based on a thorough discussion of traditional rigging design and layout. It will lean toward the traditional rig with some modern concepts added to the mix. Using WoodenBoat School’s �eet, along with boats in neighboring Center Harbor, you’ll examine and inspect a variety of rigs. A wide assortment of rigging tools, wire, line, and hardware will be used and compared, and students will be kept busy throughout the week practicing splicing, serving, seizing, and a variety of useful knots. At the conclusion of this week, all participants will have a better understanding of marlinspike seamanship and how to create safe and effective rigging.

Tuition: $750Materials fee: $120.75

THE MARLINESPIKE SAILORFunctional and decorative knots and ropework.TIM WHITTEN— JULY 7-13

Marlinespike seamanship skills have been a hallmark of sailing for centuries. From the era of square-rigged merchantmen to modern naval vessels and including all manner of pleasure craft in between, neatly done ropework has been regarded as a sign of a well-kept boat. This course with Tim Whitten is intended to strengthen one’s basic rope skills and introduce students to the extensive world of fancy work.

The Ashley Book of Knots will serve as the text for the course. This comprehensive volume of knots and techniques can sometimes be daunting for the novice. It has hundreds of illustrations, yet like many knot books leaves many readers wondering how to piece things together to make a �nished item. Tim will begin the course by covering simple knots and splices but will quickly move into a more advanced project: making a bell rope. Successful execution of this project requires mastery of several core techniques. Once students complete the bell rope, they will move on to other projects involving those same techniques.

Tim will provide plenty of one-on-one and hands-on instruction. Students will be encouraged to bring items of their own which they may want to dress up with fancy work, such as tillers, steering wheels, tool handles, rail sections, bottles, etc. Examples of other projects students can tackle during the week are a ditty bag and lanyard, deck mat, rope fenders, and sea chest beckets.

Knowledge of marlinespike seamanship is what distinguishes a true seaman from the weekend sailor. Anyone spending any amount of serious time out on the water should be well versed in knots, palm and needle work, and the making of small objects on board as necessary. This week with Tim Whitten will be a strong �rst step in that direction.


34 2013 WOODENBOAT SCHOOL | www.woodenboat.com | (207) 359-4651

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2013Related CraftsINTRODUCTION TO CANVASWORKProject design, tools of the trade, industrial machine stitching, materials, and lots more.ANN BRAYTON — SEPTEMBER 15-21

Ann has been running her very successful canvaswork business out of the family barn in Brooklin, Maine, for close to 20 years. Her reputation as an exceptional canvasworker (specializing in

custom interior and exterior boat cushions) leads many of the area boatyards and boat owners to her doorstep each year with orders in hand. We are fortunate to be able to offer students the chance to work alongside Ann learning the basics of this valuable skill.

Canvaswork is one of those traditional crafts that have been part of the boat owner’s world for centuries. Sails, protective covers, seabags, even clothes were once made out of canvas by a ship’s bosun. These days, the availability of new synthetic �bers has drastically changed

the landscape for those producing marine canvaswork, though many techniques remain the same. Students in this course will learn the ins and outs of working with a wide range of these materials that are on the market today.

Students will begin the week learning to use the industrial sewing machines we’ll have on hand for this course, followed by an introduction to all the various fabrics and foams available to the canvasworker. We’ll then look at the other tools of the trade, and learn how to install grommets, zippers, and other fastenings. The course will cover how to make various styles of boat cushions ranging from simple cockpit cushions to beveled V-berth cushions, and as time permits, students will learn to make other useful canvas projects, such as covers, bags, tool rolls, etc. Everyone will discover the step-by-step procedures in designing a project, choosing materials, and proper cutting and assembling to produce quality work that you will take pride in. Most canvaswork projects involve simple sewing techniques that are easy to master with plenty of practice, even if you’ve never done any sewing before. Students are welcome to bring their own projects to work on during class but must discuss their ideas with Ann prior to this week.

There is much satisfaction to be achieved from producing your own canvaswork, not to mention the �nancial savings involved. After this week in the loft with Ann, you’ll head home with con�dence, a new awareness in working with fabrics, a completed project or two, and a seabag full of new skills.


the landscape for those producing marine canvaswork, though

THE ART OF SCRIMSHAWA step-by-step introduction to creating beautiful pieces.RON NEWTON — JULY 28-AUGUST 3

Scrimshaw is one of the original American art forms, having gained popularity in the 1800s among sailors, especially those working on whaling ships. Over subsequent years, artists discovered the art form, and today there are many master scrimshaw artists (scrimshanders) practicing a variety of techniques. Much of their work is highly sought after and collected.

But one does not have to be an artist to practice the art of scrimshaw. Ron Newton has been teaching scrimshaw for a number of years and has authored the popular book Learning How to Scrimshaw. In that time, he has developed a system of techniques that do not require the student be able to draw.

On day one, Ron will introduce a set of exercises that will help students gain control of the tools and the various processes used in scrimshaw. The next day, students will work on a relatively simple design, an eagle, which contains both stipple and line components. The remainder of the week will be �lled with tips, techniques, and insights that will help students gain con�dence and hone their newfound skills. Depending on each student’s progress, other projects will be introduced that match each individual’s interest. Scrimshaw is like any other art form in one respect: the more you practice, the better you’ll get. A week with this talented artist and teacher will have you on your way to creating pieces that you’ll take genuine pride in.

Tuition: $750Materials fee: $26.25


2013 Related CraftsMETALWORKING FOR THE BOATBUILDER AND WOODWORKERA survey of tools and techniques.ERICA MOODY — JULY 14-20

This highly useful course designed by professional metalworker Erica Moody will provide students the unique opportunity to ex-plore and practice various metalworking techniques geared to-ward assisting woodworkers and/or boatbuilders, professional or amateur, in fabricating or repairing metal parts for their projects. There are any number of reasons to learn a few basic metalwork-ing skills, not the least of which is the increasing dif�culty of �nd-

ing anyone to construct or repair anything!

To start off, Erica will introduce students to the various types of metal used in the marine envi-ronment and their proper-ties and uses, and review the tools and techniques to work them in simple ways without the need to set up an expensive, fancy metal shop at home. The focus all week will be on working mostly with sheet stainless steel, different bronze alloys, copper, and aluminum. Procedures covered will include drill-ing and tapping, simple machining, forming, silver brazing, soldering, oxy/

acetylene welding, and �nishing methods. TIG-welding of alumi-num, stainless steel, and silicon-bronze will also be demonstrated and available for use by students.

Students can bring parts to repair or fabricate, complete small projects to take home, or just practice skills. No previous experi-ence is necessary. This week with a very talented metalworker will give each individual the opportunity to clarify metalworking questions and start building the skills and con�dence needed to repair, replace, or custom- make your own deck and hull �ttings, cabin hardware, tools, or beautiful accessories and gizmos. It will be a great way to get started!

Tuition: $750Materials: $210

BLACKSMITHING FOR BOATBUILDERSAn introduction to traditionally forged ironwork for marine projects.DOUG WILSON — JUNE 16-22

The time-honored craft of blacksmithing is alive and well. This captivating, �ve-day course, taught by master craftsman Doug Wilson, will expose students to the principles of the craft, focusing on hot-forging steel. Students will learn fundamental hand-forging processes and then have the opportunity to create useful items. No power tools will interfere with your understanding of the forging process.

Do you need a special tool or would you like to restore an old one? Can it be �xed, or will you need to replace the original? How about steel hardware? The lessons learned here will apply to both ornamental forge work and tool making with high-carbon steels. The mysteries of hardening and tempering will be addressed, and students will learn to properly heat high-carbon tools of their own making.

As students become more con�dent in basic blacksmithing skills during this course, they’ll move on to designing and making individual pieces to take home. The promise of success in this course will be limited only by the talent and enterprise of the beginner, and not by the lack of expensive or elaborate equipment and materials. And as students �nd themselves becoming more con�dent in their blacksmithing skills over time, they will discover, with pleasure and satisfaction, that they have become their own teacher.

Tuition: $800Materials: $210Note: This course will be held at Doug Wilson’s shop located inLittle Deer Isle, a short drive from WoodenBoat School.

ing skills, not the least of which is the increasing dif�culty of �nd


2013Related CraftsBRONZE CASTING FOR BOATBUILDERSThe process of patternmaking and casting custom hardware.SAM JOHNSON — JUNE 16-22

If you are a professional or amateur boatbuilder, in a small or large operation, working on traditional or modern craft, power or sail, wood or even plastic, one thing you always have to consider is the matter of hardware. Boatbuilders are often in need of special bronze �ttings that are either not available off the shelf or must be cast at great expense.

This course with Sam Johnson will introduce the basics of patternmaking, sand molding, and bronze casting. Students will learn how to build an inexpensive furnace and all the tools necessary to cast hot metal using sand-casting technology. Even if you don’t want to do your own casting, you will learn enough about design and patternmaking to minimize the cost of having a commercial foundry make your castings.

In this stimulating, hands-on course, students will make patterns of their design to cast tools, boat hardware, and other small objects in bronze. Anyone who has ever lost an oarlock will appreciate learning how to make copies of original hardware. Students will also learn how to make complex castings using cores and following blocks, and how to make duplicate patterns from silicone rubber and epoxy. Last, but not least, each student will learn how to �nish off their castings.


MARINE PAINTING AND VARNISHINGThe art and science of �nishing prep work to �nal coat.GARY LOWELL — JUNE 23-29

Painting a boat is not simply a matter of opening a can and dipping in a brush—especially if you want the job to look decent and last well. Marine �nishing requires a lot of careful preparation, good technique, and an understanding of a bewildering array of products.

Gary Lowell packs a great deal into this one-week course. He starts with the preparation of the surface—the key to a �ne �nish. Too many good coats of paint do little more than emphasize a rough hull, and too many �ne hulls have been damaged by the misuse of power tools. You’ll work with a variety of grinders, sanders, and scrapers on a variety of wooden boat parts. You’ll develop the feel needed to make these tools work for you, not against you.

You’ll examine the whole smorgasbord of currently available �nishing products—strippers and primers, additives and thinners, enamels and epoxies, antifouling paints (both traditional and high-tech)), varnishes and oils, etc. You’ll discuss how to pick the right product, and how to apply it. You’ll learn about different types of brushes and rollers, and the techniques of masking and cutting in, striking a boot top, and keeping a wet edge. And you’ll practice how to artfully coordinate the tools and techniques as you paint and varnish the boats on hand, or possibly your own.

You’ll also learn how to protect yourself from the potentially harmful dusts and chemicals involved in this work. Gary will show you how to get a beautiful �nish and stay healthy at the same time.

This is a very worthwhile course for boat owners or anyone else who would like to make a good boat shine.

Tuition: $750

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2013 Related CraftsMARINE PHOTOGRAPHY I & IITechniques and tips for getting that perfect digital shot on and around the water.

MARINE PHOTOGRAPHY IJON STROUT AND JANE PETERSON — SEPTEMBER 8-14

MARINE PHOTOGRAPHY IIJON STROUT AND JANE PETERSON — AUGUST 25-31

Photographing on, in, or around the ocean is very challenging. The coast of Maine is certainly no exception. Lighting conditions are constantly changing, offering unique opportunities for the most experienced photographer. How to make the most of these opportunities is the test every photographer faces.

As we’ve seen, digital cameras have changed the world of photography overnight. Well-known photographer Jon Strout and his able assistant Jane Peterson come to our campus to offer two unique photography courses. MARINE PHOTOGRAPHY I will be an introduction to camera technique, the chemistry of light, and capturing �rst-class images. During the week, Jon will conduct daily sessions in shooting with available light. By using proper exposures and correct shutter speeds, you will learn the techniques needed to capture a multitude of conditions.

MARINE PHOTOGRAPHY II is for the photographer who has already taken an introductory course, or is equivalently prepared and looking for the challenge of improving his or her style and technique, and moving on to the next level. Individual and group assignments will be given, and are designed to further develop one’s ability to see and create an image of what you experience and feel. Jon and Jane will offer advanced work on exposure and metering, lens selection and use, the three-dimensional photograph, the element of time, and, of course, composition.

Students will use their own digital cameras, whether point-and-shoot models or SLR. With the convenience of digital photography, the instructors will critique students’ work daily. Each morning each class will meet in our Boathouse to review the previous day’s work and prepare to cover new ground. But the real essence of both courses will be taking pictures with your instructors and on your own. The WoodenBoat School waterfront and boatbuilding shops, the many harbors and local boatyards, the town of Brooklin, and nearby Acadia National Park will provide a wealth of photogenic material. MARINE PHOTOGRAPHY I has been scheduled to coincide with the annual Windjammer Sail-In here at WoodenBoat—an exciting gathering of traditional schooners guaranteed to take your breath away. The challenge and pleasure of both of these weeks will be to capture it all on �lm!

Tuition: $750

ISLAND MAGICThe art of seeing and sharing through writing, drawing, and photography.RUTH HILL AND JUDY MATHEWSON — AUGUST 18-24

Leaving the mainland behind this week, students will discover one of the treasures of WoodenBoat School’s “backyard”—Babson Island. Join Ruth Hill, writer, naturalist, and co-owner of Brooks Boats Designs, and Judy Mathewson, writer, teacher, and journalist, for a fascinating week exploring a world apart—the life and history of Maine islands—and capturing these in words, snapshots, and sketches.

Protected for many years by family owners, Babson Island is now cared for as an island preserve by Maine Coast Heritage Trust. You’ll explore the island’s rocky shores, gravel beaches, fern �elds, shell middens, and spruce forests, investigating habitats and inhabitants, taking the time to slow down, to truly see and to hear what the island has to say. Together, Judy and Ruth will weave the island’s natural and human history together, traveling back in time to see the island as it was when islands—and boats—had a very different place in Maine life.

Each day, you’ll settle in a comfortable spot on the island or back on the WoodenBoat School campus to work on your journals or chosen writing work, adding in drawings and photographs as you wish and are able. Bring along a sketchpad and camera, and Ruth will be glad to give basic instructions for using drawing and photography for recording your experiences and thoughts. You’ll have the opportunity to try your hand at various genres—from daily �eld journal entries to essays; from journalism to poetry. Writing exercises in the �eld and back at the school will help you marry the naturalist’s careful eye to the writer’s “inner ear.” As the week slides by, there will be time for short readings and discussions of students’ works and those of other writers.

We’ll be spending most of the week making daily trips out to Babson Island, but for one day during the week the class focus will broaden from the close and immediate of the island itself to the broad expanse of islands, coast, and sea as you head out on a �eld trip to see what lies beyond.

Students should come prepared to spend much of each day outdoors, in varying conditions; while there’s nothing better than gazing out to sea from your seat on a warm sunny ledge with the cool ocean lapping at your feet, the enveloping sense of away-ness felt on an island held in the soft gray hands of fog is also a gift—to experience and to capture in words. At the end of this captivating week, you’ll head home with notebooks, sketchpads, and memory cards full to the gunwales with words and images capturing the life, feel, and essence of the most wonderful and rich treasures the coast of Maine has to offer: her islands. And you’ll discover that you too have been captured, forever, by the beauty and wonder of the islands and the sea.

Tuition: $750

on to the next level. Individual and group assignments will be given, and are designed to further develop one’s ability to see and create an image of what you experience and feel. Jon and Jane will offer advanced work on exposure and metering, lens selection and use, the three-dimensional

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2013Related CraftsSEASCAPE/LANDSCAPE IN WATERCOLORThe sea, the sky, and boats, for beginners on up.PHILIP STEEL — AUGUST 4-10

Philip Steel has gained world recognition as an artist. He has offered watercolor workshops throughout the United States, Italy, France, Scotland, and England, and brings his warm and engaging style to our campus this summer. Emphasis will be on basic techniques of watercolor and some sketching, perspective, and value studies and the anatomy of objects; you’ll learn how to make a boat look like a boat. You’ll �nd out about mixing colors and the hows and whys of various techniques—wet on wet, dry brush, dry into wet, and wet into dry. You’ll be challenged to capture and interpret the moods of water, its re�ections and transparency, its motion.

Tuition: $750Materials: $26.25 (matting material)

COASTAL MAINE IN WATERCOLORMaritime details near and far.AMY HOSA — SEPTEMBER 1-7

Imagine a low tide in the midst of barnacle-covered boulders, or sitting among a �eet of small dinghies in Center Harbor. Learn how to capture the moment in details, textures, and colors. Amy has easy-to-follow tips and tricks for composition, perspective, water surfaces, and landscapes. Your artwork will take on a whole new dimension.

Instruction includes step-by-step lessons that explore the fundamentals of observation, sketching and watercolor techniques, in addition to on-sight demos while plein-air painting at a variety of stunning seaside locations. Students will receive plenty of individual instruction and critique that will nurture the novice and challenge the experienced artist throughout this fascinating week.

Tuition: $750

PAINTING THE DOWNEAST COAST IN OILSA comprehensive approach to understanding how to see and paint the Maine coast.JERRY ROSE — JULY 21-27

You are invited to join local artist Jerry Rose for a fascinating week painting in oil. Each day will �nd students working both in group settings and out on their own. Jerry will cover a variety of topics, including seeing and composing a sketch, tools and techniques to achieve wet-on-wet oil painting, mixing paint and brush techniques, capturing morning light, the elements of composing and arranging the visual elements to form a better design, experimenting with design and technique, and lots more. Morning and afternoon demonstrations and discussions by the instructor will cover a different facet of landscape painting/sketching and help students understand the process of painting in oils. Following Jerry’s presentations, students will work on their daily assignments followed by a class critique. The week promises to be challenging, fun, and inspiring.

Previous painting experience is recommended.

Tuition: $750

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2013 WOODENBOAT SCHOOL | www.woodenboat.com | (207) 359-465140 2013 WOODENBOAT SCHOOL | www.woodenboat.com | (207) 359-46512013 WOODENBOAT SCHOOL | www.woodenboat.com | (207) 359-4651

Can’t make it to Brooklin, Maine? We’re very excited to be working with John Harris and the good folks at CHESAPEAKE LIGHT CRAFT in Annapolis, Maryland, and, once again, to be able to offer courses at their excellent facility.

Tuition for each of these courses is $800 (partner $400)

CHESAPEAKE LIGHT CRAFT SHOP

Annapolis, Maryland

MARCH 25-30BUILD YOUR OWN WOOD DUCK KAYAKWith Eric SchadeMaterials: 10’ - $954 12’ - $1029

APRIL 8-13BUILD YOUR OWN ANNAPOLIS WHERRYWith Geo� KerrMaterials: $1429

APRIL 22-27BUILD YOUR OWN STAND-UP PADDLEBOARDWith Bill CaveMaterials: $915

MAY 6-11BUILD YOUR OWN NORTHEASTER DORYWith David FawleyMaterials: $1425 (rowing) $2524 (sailing)

SEPTMEBER 9-14BUILD YOUR OWN SASSAFRAS CANOEWith David FawleyMaterials: 12’ - $974 16’ - $1129

SEPTEMBER 23-38BUILD YOUR OWN SHEARWATER SPORT KAYAKWith Eric SchadeMaterials: $1055

OCTOBER 14-19BUILD YOUR OWN PETREL OR PETREL PLAYWith Nick SchadeMaterials: $1380 (PETREL or PETREL PLAY)

OCTOBER 21-26BUILD YOUR OWN SKERRY DAYSAILERWith Geo� KerrMaterials: $1329 (rowing) $2304 (sailing)

Annapolis Wherry

Wood Duck Kayak

Northeaster Dory

Stand-Up Paddleboard

Off-Site Courses

Sassafras CanoeSassafras CanoeSassafras Canoe

Petrel & Petrel PlayPetrel & Petrel PlayPetrel & Petrel Play

Shearwater Sport KayakShearwater Sport KayakShearwater Sport Kayak

Skerry DaysailerSkerry DaysailerSkerry Daysailer

2013


2013Faculty

41

The sailing bug caught JANE AHLFELD while vacationing on one of the Maine windjammer schooners. She decided to take a leave from ele-mentary school teaching…and has yet to return. She shipped out on the MARY HARRIGAN, a 50' schooner, as mate to teach Cruising Boat Seamanship for WoodenBoat School in the Caribbean and Maine. In ’93 and ’94 she taught a course in Small Boat Sailing on the local boats of Bequia. Since 1989 she has returned to Brooklin each summer to teach and work on our waterfront. When not on boats, Jane is a com-puter consultant. She has a masters in Education and holds a U.S. Coast Guard License. Students often comment on Jane’s patience, knowledge, sense of humor, and attention to both the group and individual needs. She teaches the skills and gives all the support needed to gain con�dence on the water.

WALTER ANSEL grew up in a boatbuilding and sailing family from Mystic, Connecticut. He has made his livelihood either on or around wooden boats for the last 35 years. Other than a brief stint as a managing instructor at the International Yacht Restoration School in Newport, Rhode Island, Walt has worked as a shipwright and project leader at Mystic Seaport for the past 10 years, where he is now Senior Shipwright.

Notable projects include the Eastern-rigged dragger ROANN, the sandbagger ANNIE, the steamship SABINO, the schooner AMISTAD, a Beetle whaleboat, and Banks dories. During sailing season, Walt’s patient wife Carol ignores piles of books all over the house and an unat-tended lawn while he is off on his beloved Billy Atkin cutter WINDROSE. Walt and Carol have two kids in college with artistic leanings, follow-ing the family non-pro�t heritage.

After graduating from the Marine Science Department at Southern Maine Vocational Technical Institute in 1972, JON BARDO was employed on the schooner yacht AMERICA as an engineer. Having survived 14 months of bluewater cruising, Jon came ashore and spent the next seven years repairing diesel engines in everything from commercial �shing vessels to logging equipment. Eventually drawn back to the sea, Jon worked on commercial tugboats for four years and then started his own business working on diesel engines, which he enjoys to this day.

WARREN BARKER built his �rst boat, a Culler skiff, in 1976 after earning his B.A. at Williams College. He then studied at Hoosuck Design and Woodworking School before joining Murray Peterson Associates in Maine, where he helped

to build a number of prams and spars, as well as the 42' ketch NIA. For the next four years he worked as a project foreman at Eric Goetz Custom Sailboat Company, mostly building high-tech, one-off, cold-molded racing boats. Along the way, Warren has built or rebuilt a variety of small craft on his own. A two-and-a-half-year stint restoring the yawl COTTON BLOSSOM ended with his �rst commission in his new shop, a Haven 12½'. A Bridges Point 24 kept the doors open, followed by CURLEW, a reproduction of the Herreshoff Alerion. Immersed in the Herreshoff tech-nique, he used their methods to produce a 26' gig for Portsmouth Abbey School and a Columbia dinghy. Having completed the 30'6" William Garden–designed “Camilla” and the Herreshoff 12½' “Crow Dancer” in his Westport, Massachusetts, shop, he took the position of senior instructor at IYRS mentoring the construction of Herreshoff designs from 12' to 35' and a smattering of other designers’ work. Trying to stay ahead of the students, he is learning the ins and outs of GarWood and Chris-Craft boats.

DAVID BILL sailed aboard Lasers, Lightnings, and Atlantic Class sailboats during his boyhood years on Long Island Sound. In 1981, Dave left


2013 FacultySoutheastern Connecticut and went to sea as a third assistant engineer aboard freight ships, tank ships, and container ships. In1987 he earned his USCG 50-ton Master auxiliary sail license and continued his seafaring career on sailing charter yachts in the Caribbean and New England waters. Dave signed aboard Tabor Academy’s nautical science program in 1989 and has served in the last 22 years in the roles of waterfront director, mate on SSV TABOR BOY, chairman and instruc-tor in the Nautical Science department, dorm par-ent, and sailing instructor. In 1996 Dave returned to the University of Rhode Island to complete his Masters of Marine Affairs degree. His greatest joy is messing around in boats with people of all ages, including his daughter Tayler Bill. You can read Dave’s nautical re�ections and sea stories in his blog www.boatsandlife.com.

ERIC BLAKE was born into a long line of dairy farmers and wood cutters in the Northeast Kingdom of Vermont. He started building canoes in his father’s shop as soon as he was old enough to run the tablesaw. After graduating from high school he enrolled in the two-year small-boat design program at The Landing School in Kennebunk, Maine. Upon completing this pro-gram Eric headed overseas and spent a year at the International Boatbuilding School in England studying for their City and Guilds exam in tradi-tional yacht construction. Boats and the many people in the marine industry he has met have led Eric to jobs at numerous boatyards, many of them pioneers in wood composite construction. He and his wife Molly came to Brooklin in 2004

to take a job at Brooklin Boat Yard. He valiantly tries to spend as much of his free time out on the water. When he’s not sailing, he can usu-ally be found chasing their son, Cy, around the garden at their home in Blue Hill.

ANN BRAYTON has lived here in Brooklin for years raising kids, animals, and vegetable gar-dens, as well as guiding kayak trips for a local lodge. At a young age she realized the rewards of making useful things with her own hands, and after several years working in a local sail loft over 20 years ago, she began her own can-vas business in her barn, allowing her to work more easily around her family’s schedule. Initially, Ann focused mostly on yacht interiors (cushions and curtains) for boats being built or rebuilt by local boatyards or individual boat owners, but has since expanded into doing a wide range of exterior canvas projects as well.

At 15, JOHN BROOKS joined his grandparents and other family members on a two-year sailing trip from the Paci�c Northwest to South Africa. In college he studied engineering and journal-ism, then he went to work building boats, took a boat design course, and built a Chesapeake Bay skipjack for himself. In the 1980s, John moved to Maine with boat in tow, and worked for a number of Mount Desert Island boatyards plus a keyboard maker, a cabinetmaker, and a custom furniture builder; he also designed and built his �rst glued-lapstrake boat, a 15' fast pulling boat. In 1992 he and his wife, Ruth Ann Hill, started their own business designing and building

glued-lapstrake boats, and together they wrote How to Build Glued-Lapstrake Wooden Boats, published by WoodenBoat Books in 2004. After moving to Brooklin in 2003, John continued designing boats and developing plans while also taking advantage of an opportunity to work at Doug Hylan’s shop and Brooklin Boat Yard as a master carpenter. Since 2009, he and Ruth have worked together as Brooks Boats Designs full-time, developing plans for boats they built on MDI and for new designs. They live in Brooklin

with their four children, a �ock of chickens, and assorted boats. This season marks 20 years that John has taught classes at WoodenBoat School.

HARRY BRYAN built his �rst boat at age 10, his �rst boat that �oated at age 12, and his �rst boat with almost no leaks at age 15. After successfully resisting attempts to be formally educated at the University of Vermont, he worked on �sh-ing boats at Fairhaven Marine in Fairhaven, Massachusetts, and on yachts at Concordia Company in South Dartmouth, Massachusetts, before moving to New Brunswick, Canada, in 1972. Since that time he has repaired commercial craft and built dories, skiffs, and sailboats form 7' to 36'. His shop, which relies on a small diesel engine and solar panels for its power, emphasizes a growing commitment to pedal power and hand tools (see WoodenBoat No. 132).

glued-lapstrake boats, and together they wrote


2013Faculty

Ever since GEOFF BURKE went on his �rst canoe trip in the Adirondack Mountains in sec-ond grade, canoes and small boats have been an important part of his life. In the early 1970s a love of the wilderness took him to Alaska where a job with summers off let him take a series of canoe trips varying in length from 200 to 1,000 miles. He came to realize that small boats could be capable of more than puddin’ around the pond—they could make voyages of epic length. Upon returning to New England long on watercraft skills but short on market-able ones, a chance encounter with an article in WoodenBoat magazine written by Robert Baker changed his life. Baker’s piece was on building PICCOLO, a 13' lapstrake sailing canoe.Geoff’s many seemingly disparate skills suddenly became a good foundation to becoming a boat-builder. He attended courses taught by Walt Simmons and John Gardner. Henry Rushton and Pete Culler became the focus of much research. Today, Geoff owns a very success-ful business building traditional wooden small craft, and enjoys teaching boatbuilding classes at WoodenBoat School and Lake Champlain Maritime Museum.

Growing up in Michigan, SUE CANFIELD spent her summers messing about in small boats. She joined the Navy after attending college in Japan and earning a degree in education from the University of Michigan. During her subse-quent military career, Sue bought and renovated a number of older boats and lived onboard a 37' cutter for 10 years. Never found far from the water, she has worked on both coasts, in Hawaii, the Bahamas, the West Indies, and Italy. She served as a deck of�cer on ships operating in the Atlantic and Mediterranean, and taught navigation and seamanship at the U.S. Naval Academy. Sue has worked as an independent marine surveyor since 1993 and taught marine surveying since 1999. She has

also been a featured speaker at marine indus-try and recreational boating seminars offered by International Boatbuilders Exposition (IBEX), Boat/US, West Marine, and the National Women’s Sailing Association. Her articles on marine surveying and related technical topics have appeared in Professional BoatBuilder, DIY Boat Owner, Offshore, Chesapeake Bay, and Sea magazines.

BILL CAVE spent 28 years as a �re�ghter in Washington, D.C. An avid sailor and small boat enthusiast, he’s also worked as a mate on a schooner. Bill built his �rst boat in a WoodenBoat School class. The Chesapeake Light Craft staff recognized his talent and hired him, along with his son, Matt, for good measure. As Chesapeake Light Craft’s primary staff boatbuilder, Bill has built dozens of boats of all sizes and taught many boatbuilding classes on his own. He lives in Bryantown, Maryland and when not building boats for a living, he builds them as a hobby.

JANET COLLINS is a traditional furniture maker who specializes in building custom pieces that require turning, carving, and inlay. A gradu-ate of the Cabinet and Furniture Making pro-gram at North Bennet Street School in Boston,

Massachusetts, Janet has been working with wood for over 15 years. These days, Janet is on the North Bennet Street School’s faculty teach-ing a number of workshops in furniture design and construction. She is a member of the Guild of Vermont Furniture Makers and was voted 2006 Woodworker of the Year in Vermont by the Vermont Wood Manufacturing Association. Janet is also a published woodworking author

GERALD (Jerry) CUMBO has been a wood-worker for more than 35 years. He began his career as an apprentice under Thomas Stender, a �ne cabinet maker. Jerry moved into home restoration, specializing in Victorian homes. Boatbuilding eventually became a passion, and he spent �ve years in Puerto Rico restoring a William Hand motorsailer. After buying a Bud McIntosh sailboat in need of some loving care, Jerry moved to Maine to devote his time to boat-building and constructing his own home in Blue Hill. In 1995 he became the Shop Manager at WoodenBoat School and held this position for 11 years. Following his retirement, Jerry became interested in bird carving and for the last four years has been studying at the Wendell Gilley Museum in Southwest Harbor, Maine. Jerry carves realistic detailed and painted birds, deco-rative decoy style, and shallow reliefs. He has exhibited his bird carvings in numerous local and international bird carving shows and has them for sale in many local galleries. When he’s not busy carving, he spends time maintaining his gardens at home and feeding the birds.

ARCH DAVIS grew up with boats in his fam-ily, in New Zealand during the 1950s. His �rst boatbuilding job was with Jim Young, starting in 1964, where he learned the basics of cold-molded construction, in addition to working in the design of�ce. Arch’s passion was cruising on the northeast coast of New Zealand’s North Island in a variety of wooden boats. He moved to Maine in 1988 where he continued to work as a boatbuilder in local yards. He also started to design small boats for the backyard boatbuilder. With the success of his Penobscot 14 design, Arch was able to work full-time on design and producing kits. Since then, he has assembled a small collection of boat designs, documenting the process of building several of them on video.

“Among my many years of professional and recreational development courses, Janet Collins now occupies the ‘top instructor’ slot. A full week of varying skills, personal tips, etc. would prove challenging for anyone other than a seasoned, skillful, and aware instructor. It is rare that you �nd an artisan who can also teach the craft……..and teach well.”

M.N., New York, New York


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Remembering well his own fumblings during his early career, Arch goes to great lengths to make his plans as clear and detailed as possible, in addition to making himself available for advice to builders of all his designs. Nothing gives him more satisfaction than to hear from a builder who may have started out feeling a bit intimi-dated by the arena of boatbuilding terms and techniques, but who has graduated as the proud owner of a beautiful boat he or she has built. Arch lives in Belfast, Maine, with his wife, Amy and their daughter, Grace, a keen sailor, who is putting many hours into the building of their own 30’ cruising sloop, GRACE EILEEN.

From a very young age, PATRICK DOLE has been intrigued by how things work. He grew up working for his father in his bicycle shop and tinkering with all sorts of things. He remembers at around the age of six that he had his mind set on building a light bulb. Patrick cut off an elec-trical cord from some discarded piece of junk, grabbed a mason jar, put two nails through the lid, wrapped wire between the points, hooked up the cord, plugged it in, and presto, the basement went dark! Boats entered his life during summer camp when he learned to sail small boats, mostly Sun�sh and Lasers. Patrick’s career in boats began when he was hired by Ocean Classroom during a re�t of the educational schooner HARVEY GAMAGE. After reframing and replank-ing, he helped sail the schooner from Maine to Venezuela, and he was hooked. After returning home, Patrick enrolled in The Landing School in Kennebunkport, Maine, and after graduating has worked in various boatyards around the state. In 2008, Patrick co-founded O’Donovan and Dole Wooden Boatworks in Searsport, Maine, with John O’Donovan and has kept busy with a vari-ety of interesting projects in their shop.

ERIC DOW was brought up a Maine �sherman, but pursued boatbuilding “as a means of being able to sleep later in the morning.” He gradu-ated from the marine department at Washington County Vocational Technical Institute, and for over 38 years he has been building boats in Brooklin, Maine. He built many of the WoodenBoat half models for display, has been intimately involved with the development of the Nutshell Pram kits, and, these days specializes in the construction of the Haven 12½.

A summer job on a salmon boat in Alaska is where DAVID FAWLEY �rst fell in love with boats and the sea. Working as a storyteller in the San Francisco Bay area then led him to a stint on a tall ship, which sealed his fate. As the next logi-cal step in a growing obsession, David attended The Landing School of Boatbuilding and Design in Kennebunk, Maine. As a newly minted prof essional boatbuilder, he built mahogany run-about replicas for Stone Boat Yard in Alameda, California, before moving East to work at Cutts and Case, Inc. in Oxford, Maryland. Now marry-ing his love of boatbuilding with extensive kayak-ing experience, David is the production manager at Chesapeake Light Craft in Annapolis, Maryland.

From racing sailboats on Long Island Sound as a teenager to racing and cruising various sailboats over the past 40 years, AL FLETCHER has always been on or around boats. During the winter he enjoys retirement, racing dinghies and sailing his Sea Pearl and Caledonia yawl in Florida, and in the summer ROZINANTE on the coast of Maine. For many years, Al enjoyed managing, working, and teaching on WoodenBoat’s waterfront.

QUEENE HOOPER FOSTER taught her-self how to sail by reading books and studying the photographs of Morris and Stanley Rosenfeld. Right out of col-lege she purchased a boat and learned to sail the hard way. She continued her education by sailing annually to Maine from the Chesapeake Bay, par-ticipating in the early classic yacht events in Newport, Rhode Island and in Maine. She has sailed in numerous Newport to Bermuda Races, always in

classic wooden boats, and was the �rst woman to skipper her own boat in the that famous ocean race. Sailing for the New York Yacht Club in her Aage Nielsen Ketch SAPHAEDRA, Queene sailed across the Atlantic to Cowes, England and was the only woman skipper to race in the America’s Cup Jubilee. She and her international crew received a Third Place Trophy from Princess Anne for the week of competition. Her career has been in publishing in New York City, specializing in marine titles, including Chapman’s Guide to Boating Etiquette, a detailed guide to boating tra-ditions. Queene is an experienced sailing instruc-tor and these days enjoys being out under sail on her Concordia yawl MISTY.

JEREMY GAGE grew up in Vermont, learning to sail boats on Lake Champlain. When he was in high school, Jeremy’s parents decided to sell everything, bought a 44’ sailboat, and moved the family on board. Over the next two years, they explored the Atlantic Ocean, making their way through the Caribbean, across to Europe, and, eventually, back to the Bahamas. Returning to the States, the family sold their boat and Jeremy moved on to art school at Alfred University in New York. His focus was on painting and

“Geoff Burke was amazing and knowledgeable beyond expectation. He was also generous with his tools, kind, and very patient; an excellent teacher and craftsman. I haven’t had such a ful�lling time in years. Thanks!”

J.M., San Francisco, California


2013Facultygraphic design, but he gradually found himself intrigued with woodworking. By the time he graduated, he began to think seriously about combining his interest in woodworking with his love of boats. He enrolled in The Landing School of Boatbuilding and Design in Kennebunkport, Maine, and after completing their cruising boats program, was hired by French and Webb in Belfast, Maine. Over the past 12 years at French and Webb, Jeremy has built numerous cold-molded and traditional plank-on-frame sail-boats, and has been involved in the complete restorations of several classic wooden boats.

MARTIN GARDNER, born on the Chesapeake Bay, and with two grandfathers who were profes-sional seamen, should have had a life in boats. It started well enough, with numerous �shing trips out on the bay and various model boats. Then something went wrong, and for a few decades, Martin pursued a career that included more time in airports than in anchorages. In the 1980s he came to his senses and began sailing seriously, eventually leaving his day job to cruise for four years aboard a 28' Lyle Hess cutter. He has sailed over 25,000 miles on a variety of bluewa-ter boats. He holds a U.S. Coast Guard Master’s license and an assortment of U.S. sailing and ASA instructor quali�cations. He now teaches sailing year round and keeps a cruising catboat back on the Chesapeake Bay.

DAVE GENTRY has been dreaming about boats since his parents were posting his nautical draw-ings on the refrigerator door. In the late 1980’s Dave built his �rst boat without any plans and with only a hazy idea of what was required - and then taught himself to sail in it. He’s been hooked on boatbuilding and sailing ever since. While in grad school at the University of North

Texas, he coached the university sailing team and also raced on his own, winning both state and national one-design regattas. Since then, he’s embraced whitewater and sea kayaking, surf-ing, rowing and cruising, even living aboard his own boat while cruising the waters of the Paci�c Northwest and British Columbia. In 2006, Dave opened his own boatbuilding shop and started building and designing skin-on-frame kayaks, canoes and unique conversions of historic boats. Using non-traditional SOF construction, Dave has proven that many different types of boats - not just kayaks - can be built lighter, more easily, and more affordably than with any other method. Dave currently lives in New Market, Virginia.

JOHN C. HARRIS owns Chesapeake Light Craft, the Annapolis-based purveyor of wooden boat kits and plans. His long tenure at CLC was pre-ceded by a passion for boatbuilding and small craft that stretches back to earliest childhood. His �rst successful design was launched at age 14. More paddling, rowing, and sailing craft followed quickly, though he paused to get a degree in music—his second passion. After college he was determined to make a career as a boatbuilder and designer in the esoteric world of wooden boats. Eighteen years later, he’s shipped 24,000 boat kits and seen his designs built in more than 70 countries. His work as a designer and builder ranges from dinghies to large multihulls and from kayaks to powerboats. He lives on the shores of Chesapeake Bay near Annapolis with his wife, daughter, and an always-changing �eet of curious small boats.

HAVILAH HAWKINS, a second-generation cap-tain, was raised in the windjammer business on the schooners STEPHEN TABER, ALICE WENTWORTH, and MARY DAY, which was

designed by his father, Capt. Havilah Hawkins, Sr. Havilah, also a fourth-generation boatbuilder on his mother’s side, designed and built his 50’ gaff-headed sloop VELA, with help from the Wooden Boat Co. in Rockport, Maine. He has been running a day-sailing business out of Martha’s Vineyard for the past 11 years. He presently runs, in conjunction with Windward Passage, a program dedicated to giving kids a chance to experience the Maine coast under sail. Havilah has had a 100-ton auxiliary sail license for carrying passengers for 30 years.

REED HAYDEN was introduced to boats at the age of 12 when he got his �rst summer job on the Hyannis, Massachusetts, waterfront. He earned a Bachelors of Fine Arts degree in Sculpture from the University of Massachusetts and set-tled in the seaside town of Sandwich where he was a leading woodcarver. In 2000 Reed started his own successful sign-carving business while he was working part-time at Ballentine’s Boat Shop in Cataumet. It was at this boatyard where he became interested in boatbuilding. In 2003 he and his family headed up to Maine where he joined the crew at The Hinckley Company. These days Reed keeps busy working as a car-penter at Brooklin Boat Yard and doing custom commercial and residential signwork at his own shop in Surry.

RUTH HILL grew up in southern Maine, essen-tially on the beach and in the ocean, then took to inland exploring in canoes as a Junior Maine Guide. After spending a college year high and dry in Colorado, she returned to salt water at the College of the Atlantic in Bar Harbor. After graduation Ruth moved to Washington, D.C. to continue her research on estuarine systems with the Conservation Foundation. She eventually

designed by his father, Capt. Havilah Hawkins,

2013 Faculty

returned to Maine and put together a living as a writer, naturalist, illustrator, and graphic art-ist for local newspapers and for nearly every conservation organization in the state. After meeting boatbuilder John Brooks and falling in love, they got married and started building their �rst boatshop and house. Since then, Ruth and John have run their own business, www.brooksboatsdesigns.com, and Ruth has con-tinued her work as naturalist and writer, writ-ing for Maine Boats, Homes, and Harbors and WoodenBoat, among others. Together, she and John wrote How to Build Glued-Lapstrake Boats, published by WoodenBoat Books in 2003. Ruth continues to have a passionate love for all things connected to the coast of Maine. She and John live in Brooklin with their four children, many animals, and several boats…all of which �oat.

AMY HOSA is an illustrator and graphic designer who hails from San Francisco. The maritime world of boats and waterscapes began appearing in Amy’s artwork back in the early ’90s, when she volunteered to do preservation work in the Small Boat Shop on San Francisco’s historic Hyde Street Pier and became a regular on their annual rowing and sailing expeditions into the sloughs and rivers of The Delta. She is currently an exhibit designer at San Francisco Maritime National Historical Park, and shows her water-colors at local galleries.

SAM JOHNSON has been messing about in boats for most of his life. While in college he learned how to repair traditional �shing boats in Monterey, California. Later, while teach-ing biology in Massachusetts, he took courses from John Gardner and Barry Thomas at Mystic Seaport. Back on the West Coast he has built a number of small craft including a Rogue River dory, a crabbing skiff, a sliding-seat row-ing dory, a small English lapstrake pram, a 16'

Whitehall, and a Providence River boat. For the 1992 Columbia River Bicentennial he set up a boat shop at the Oregon Historical Society in Portland, Oregon, and oversaw the construction of three 18th century ship’s boats, all now part of the Columbia River Maritime Museum’s col-lection. Most recently he has been restoring a number of small boats in Seattle, including a 22' Peter Culler Chebacco and a 1932 bridge-deck cruiser. Bronze casting came as a result of needing traditional parts for his boat projects. After taking a foundry course at the Center for Wooden Boats in Seattle, Sam has learned by doing. Now more than 12 years later he does one-off castings for traditional boats around the world and teaches casting courses throughout the U.S. and Canada. In addition to his boatbuild-ing and foundry work, Sam is also the Executive Director of the Columbia River Maritime Museum in Astoria, Oregon.

JOHN KARBOTT spent most of his child-hood along the beaches and waterfront of Plymouth, Massachusetts, watching commercial lobsterboats and occasion-ally catching a ride on one. He dreamt that someday he would have his own. During high school he purchased an old wooden skiff and a few traps, and joined the crowd. While in school, he lobstered and raked sea moss during the summer season and worked odd jobs throughout the winter. He graduated from Boston’s Wentworth Institute with an Associate Degree in Architectural Engineering, but boats and the water were his �rst loves. John spent the next 30 or so years, lobstering commercially in the Plymouth/Cape Cod area. After

owning and maintaining wooden boats all his life, he decided to pursue that career full time and sold his successful lobstering business. John now keeps busy building boat and doing boat repairs in southeastern Massachusetts, mostly of the lobsterboat style/design.

MARK KAUFMAN has been fascinated with boats and boatbuilding since his childhood days of growing up boating with his family on Pennsylvania’s Allegheny River. As a teenager, he built his �rsts boats, a wood-and-canvas Trailcraft canoe and a Minimost hydroplane. Later, he acquired a passion for �ying and home-built-aircraft, and built a two-seat, high perfor-mance composite aircraft. After college, Mark became interested in aircraft restoration and restored an award-winning “tube and fabric” 1948 Piper Vagabond aircraft. He holds instru-ment, commercial, and �ight instructor ratings. During the last ten years he has become an avid bicyclist and kayaker, and builds his own custom �llet-brazed bicycle frames and skin-on-frame kayaks. Mark also has a passion for randonneu-ring (timed, long distance endurance cycling). Mark is a technology educator at Garden Spot High School in New Holland, Pennsylvania teaching beginner and advanced woodworking as well as computer-aided drafting. Many of his advanced woodworking students have built skin-on-frame canoes, stitch-and-glue kayaks, wood strip canoes, and skin-on-frame Aleutian and Greenland-style kayaks in addition to their regu-lar course work. He also teaches a number of adult education classes on skin-on-frame kayak construction. Mark always looks forward to the classes he teaches at the WoodenBoat School.


returned to Maine and put together a living as



2013FacultyGEOFF KERR does business as Two Daughters Boatworks in Westford, Vermont, on New England’s “west coast.” A boater since taking a Hurricane Island Outward Bound School course at age16, and later a Coast Guard of�cer, Geoff learned the trade at the Alexandria Seaport Foundation with Joe Youcha. He served as shop foreman and instructor in that dynamic environment. In his one-man, full-service Vermont shop, Geoff does small-craft repairs and restorations, as well as new construc-tion, specializing in Iain Oughtred’s Caledonia Yawl. He has been af�liated with Chesapeake Light Craft since the company’s infancy, and is a licensed builder of their many designs, as well as an authorized and experienced instructor.

BARRY KING has been sailing all his life. Along with his wife Jennifer Martin and their children, this fam-ily has been sharing their schooner MARY DAY with guests since 1998. In addition, to being a USCG licensed master, Barry has an M.S. in Experiential education and is a Wilderness EMT. “I love seeing the strong teamwork and sense of self that can be gained by the endless variety of skills that make up the world of traditional sail-ing vessels.”

PHILLIP LaFRANCE was �rst introduced to boats at the age of 16 when a 43' Alden schoo-ner paid a visit to his hometown of Mattapoisett, Massachusetts, on its way to Maine. He and a friend talked their way aboard, fell in love with what they saw, and got hooked on sailing. After a short stint at college, Phillip decided to try life in New Zealand and while there he got a job as a crew member on an 85’ schooner bound for Chile. En route the schooner broke its rud-der and they ended up in Tahiti. At the young age of 21 Phillip became Captain of that boat and delivered the vessel safely to New York. He's been sailing and working on the water ever since and has owned and/or skippered numerous traditional wooden sailing craft. For the last decade Phillip has gotten to know the local waters very well aboard his 46’ ex-Coast Guard buoy tender VULCAN, the workhorse for his business Brooklin Marine LLC that services over 300 moorings from Blue Hill to Brooksville,

Deer Isle to Isle au Haut. He, his wife and two sons feel very fortunate to call Brooklin, Maine, their home.

A passionate sailor, SUSAN LaVOIE has exten-sive cruising experience in coastal as well as offshore waters, in addition to many years of din-ghy and one-design racing. As past Commodore of the Blue Water Sailing Club in Boston, Massachusetts, she was responsible for organiz-ing cruise activities, developing seminars based on safety, navigation, and electronics and racing techniques. A member of the National Women’s Sailing Association, Susan instructs yearly semi-nars directed toward women. She is the author and illustrator of Sailing Safely and How to Get Home, a sailing book for beginners and inter-mediates. Holding a U.S. Coast Guard license, Susan enthusiastically shares her passion for sailing, teaching the skills needed for enjoyment and con�dence on the water, and just messing around on boats with others.

ROBIN LINCOLN grew up sailing on Cape Cod. She says the greatest gift her family ever gave her was exposure to water and boats at an early age. Sailing has been a constant thread through-out her life. Racing as a young girl in wooden Mercurys, Beetle Cats, Lightnings, and Wianno Seniors, she won many championships. Robin

also taught sailing seminars, organized races, and helped establish summer sailing programs for children and adults at yacht clubs and sum-mer camps. She sailed to Europe aboard the schooner WESTWARD and cruised the west coasts of the U.S., Mexico, and Central America aboard a 38-foot cutter. Over the years, Robin’s sailing experiences have taken her up and down both coasts of the U.S. from Canada to Florida, Mexico, and the Carribean. She was a partner in a sail loft in Costa Rica for four years, where she had the opportunity to examine sails and rigging while sailing on different boats from all over the world. For over 20 years she owned and operated Center Harbor Sails in Brooklin, Maine. Robin’s life both in the loft and on the water gives her an intimate and well-rounded knowledge of boats and sailing. She has enjoyed teaching at the WoodenBoat School for almost every year since its inception. She continues to spend every spare minute she can sailing the beautiful coast of Maine.

GARY LOWELL was born and raised in a small town in Maine. After living in Wisconsin for six years, he moved with his �rst wooden boat to Greensboro, North Carolina. While studying broadcasting in college, Gary worked at the local TV station as a director and lighting direc-tor. While the job paid the bills, boatbuilding fed his soul. He began rescuing and repairing old, classic sailboats and sailing them along the North Carolina coast. A descendant of the well-known New England boatbuilding Lowell fam-ily, Gary couldn’t ignore his heritage any longer. In 1993, Gary left television to open his own boatbuilding shop. Starting in his backyard, the business has since grown to one of the larg-est wooden boatbuilding shops in the country. Lowell Boats Inc. is an award-winning boatshop specializing in classic runabout restoration. To

“Mark Kaufman’s Greenland kayak course exceeded my expectations and was both enjoyable and productive. Mark is a gifted teacher and wonderful and kind individual. My boatbuilding skills were once again enhanced by my attendance at WoodenBoat School. Thanks to all of you and Mark.” L.H., Charleston, South Carolina

does business as Two Daughters Boatworks in Westford, Vermont, on New England’s “west coast.” A boater since taking a Hurricane Island Outward Bound School course at age16, and later a Coast Guard of�cer, Geoff learned the trade at the Alexandria Seaport Foundation with Joe Youcha. He served as shop foreman and instructor in that dynamic environment. In his one-man, full-service Vermont shop, Geoff does small-craft repairs and

-tion, specializing in Iain Oughtred’s Caledonia Yawl. He has been af�liated with Chesapeake Light Craft since the company’s infancy, and is a licensed builder of their many designs, as well as an authorized and experienced

has been sailing all his life. Along with his wife Jennifer

-


2013 Faculty

supplement his painting and varnishing course at WoodenBoat School, Gary has produced a high-quality DVD on Finishing Techniques for Wooden Boats. Gary often takes summers off to travel back to Maine with his family and enjoys sailing the coastal waters.

JUDY MATHEWSON spent her childhood sum-mers picnicking on Babson Island across from the WoodenBoat campus and cruising with her family aboard their 26' Amphibi-con sloop FELICITY. She also made trips with her par-ents’ close friends, author Charles McLane and his wife Carol, in their 37' Maine coast wooden yawl SULIKO as the couple researched their four-volume history of the Maine islands. Judy’s �rst love is science writing, which she studied at the University of California, Santa Cruz in a program that New Scientist magazine called “the best academic training ground in the U.S.” for science writers. Her subsequent work for the San Jose Mercury News, Cape Cod Times, and other newspapers included stories about envi-ronmental threats to marine life, teaching sea

lions a rudimentary language, and the creation of the Stellwagen Bank National Marine Sanctuary. Before becoming a year-round Brooklin, Maine, resident in 2007, Judy worked in the deadline-driven hurly-burly of Bloomberg News’ Washington, D.C. bureau. She spent eight years there, daydreaming all the while about sail-ing on Eggemoggin Reach. These days, Judy teaches writing at the Eastern Maine Community College and high school English at the Blue Hill Harbor School. She lives in Brooklin with her son, and they both enjoy sailing HERON, their Haven 12½, exploring Great Cove, Babson Island, and the waters beyond.

Landlocked in the Midwest, THOM McLAUGHLIN grew up working on farms and having the cycles of nature deeply rooted under his skin. After �nishing a graduate degree in visual arts (sculpture), he found himself sur-rounded by water as an art professor at the University of South Florida. In 1993, while searching for an art form that could more directly inspire an awe of nature, he stumbled onto pond yachts. Since then he has writ-ten articles on, investigated the his-tory of, and made many vintage pond yachts. He is currently the Southeast regional vice-president of the Vintage Model Yacht Group. In the last seven Vintage Marblehead National Regattas boats of Thom’s design, and their construction initiated in courses at WoodenBoat School, had third or better placing in �nal standings. In the 2011 National Regatta he placed

First Overall in class and also received the Craftsmanship Award.

DAVE MERRIFIELD has been a studio furniture maker for the past 19 years. His pieces can be found in the permanent collection of the Smithsonian’s American Art Museum, located in Washington, D.C., the Hechinger Collection, and many private homes. His background as an environmental engineer, combined with his involvement in furniture and home design, has enabled Dave to pursue interests in architecture as well with a small design �rm in his hometown

of Asheville, North Carolina. While the moun-tains of North Carolina are beautiful, Dave �nds himself spending longer and longer summers on the coast of Maine quenching his thirst for salt water and boats. WoodenBoat School was very fortunate to have Dave serve as Assistant Shop Manager during our 2011 season.

ERICA MOODY was born in land-locked upstate New York, and schooled in western Massachusetts, but �nally made it to the coast in 1991 for a summer working on Martha’s Vineyard. Since then she has not been able to be far away from the sea. Upon moving to Boston in 1992, she was fortunate enough to sail on a friend’s 1940’s Alden Sloop for a few years, getting to know the Massachusetts coast �rst from the sea rather than from the road. Her passion for sailing and the beauti-ful craftsmanship and design of the wooden sailboat has never left. She was inspired to �nd a career in the building trades, and found an apprenticeship with a custom metalworker in Boston. She has now been working profession-ally as a metal craftsman in and around Boston for 19 years with the last 11 years running her business Magma Metalworks, Inc., in Beverly, Ma. She specializes in custom work of all kinds and all metals, including the marine favorites, silicon bronze, stainless steel, and aluminum. Erica works with award winning architects for both commercial and residential projects such as custom hardware, railings, signs, and deco-rative detailing. Along with teaching assistants and offering private lessons in metal craft, she is also an adjunct professor at Wentworth Institute of Technology teaching model making in the Industrial Design program. She lives on a Shannon ketch in Boston Harbor, with her hus-band Paul and pup Stella.

RON NEWTON’s interest in art started as a young man. Classes and experimentation in various art forms have included oil painting, printmaking, blacksmithing, woodworking, metalworking, and others. Twenty-eight years ago, Ron discovered scrimshaw while attending a custom knife show. After marveling at the beauty of this art form, he decided to try his hand at it. Since then, Ron has become quite pro�cient in scrimshanding and has sold his work at various galleries and art shows around the country. He also teaches scrim-shaw classes at the J.C. Campbell Folk School in Brasstown, North Carolina. Ron is the author of the popular book Learning How to Scrimshaw.

“Dave Merri�eld was absolutely superior. His course on BOAT CABINETRY challenged me and enabled me to learn much more than I could have hoped for. A very enjoyable week!”

B.E., Oxford, Mississippi


2013Faculty

ANNIE NIXON fell in love with the ocean and sailing right after college when she went to work for Thompson Island Outward Bound in Boston, Massachusetts. She learned to sail and teach aboard their traditional 30’ open rowing and sailing vessels. Annie then spent four years at the Chewonki Foundation in Wiscasset, Maine, leading 21-day sailing wilderness trips for high school and college-age students. On these expeditions Annie captained both a 26’ Crotch Island Pinky and a 28’ Mackinaw Lake design. She taught elements of seamanship, wilderness “leave no trace” ethics, and marine ecol-ogy as part of these expeditions. For �ve summers Annie worked on two larger tra-ditional vessels in Maine, the schooners MARY DAY and AMERICAN EAGLE. In 2006 and ’07 she was mate and educator for WoodenBoat School’s course on the MARY DAY. Annie currently holds a USCG 100-ton license.

At the age of three, MIKE O’BRIEN �rst climbed aboard a skiff, and at seven he taught himself how to sail by reading instructions found in the family ency-clopedia. As a college student he rowed in “eights” and went undefeated during three years of surfboat rowing competition along the New Jersey shore. After earning a degree in physics, Mike pursued graduate work in oceanography. Later, while serving as Chairman of Marine Sciences at a small college, he �lled his vacations by design-ing and building boats in his one-man shop. Mike has been Associate Editor for Sailor and Technical Editor for Soundings. He was Senior Editor here at WoodenBoat for more than 20 years. Now in semi-retire-ment, he works as Boat Design Editor for

the magazine. He also writes and publishes Boat Design Quarterly. Mike takes much of his water-borne pleasure aboard sea kayaks. He is a regis-tered Maine Guide.

ANDY OLDMAN has had a passion for boats since age �ve. By seventh grade, he had read nearly every seagoing book in the school library and was soon pre-occupied with building a working gaff-rigged model remarkably like PATIENCE. Three memorable summers ensued near Castine, Maine, where teenagers sailed on a 45' schooner as far as

Monhegan Island in the days of hand lead and compass. Andy discovered PATIENCE on a cof-fee break at a midwinter boat show; the child’s model had come alive. Andy and his family recently completed a wondrous, year-and-a-half voyage on their ketch that took them across the North Atlantic to France, down to South America, over to the Galápagos Islands, and many points in between. Meanwhile, Andy is dedicated to shar-ing the knowledge of wooden boats and sailing that he is so fortunate to have acquired from a beloved cadre of old-time sailors, friends, and adventurers.

From an early age, JANE PETERSON has been interested in photography. After years of using 35mm �lm, she has gone digital SLR and has not looked back. Her interests are nature and macro photography, but she has been venturing into documentary work as well. Growing up in Maine, Jane has a strong af�nity for the coast and a love of the soul of Maine and her people. Photography is a way of capturing moments of wonder for her. She has studied photography with Neal Parent, Rick Sammon, Jon Strout, and others. Her work has been exhibited locally as well as in WoodenBoat magazine.

JERRY ROSE believes that great paintings are a product of love and respect for the subject. Drawn to coastal communities where people make their living from the sea and land, Jerry divides his painting time between coastal Maine and the Bahamas. He paints on site, which strengthens his understanding of the landscapes and people in these locations. His paintings cover a variety of techniques, which are done

ogy as part of these expeditions. For �ve -

ditional vessels in Maine, the schooners MARY DAY and AMERICAN EAGLE. In 2006 and ’07 she was mate and educator for WoodenBoat School’s course on the MARY DAY. Annie currently holds a USCG

�rst climbed aboard a skiff, and at seven he taught himself how to sail by reading

-clopedia. As a college student he rowed in “eights” and went undefeated during three years of surfboat rowing competition along the New Jersey shore. After earning a degree in physics, Mike pursued graduate work in oceanography. Later, while serving as Chairman of Marine Sciences at a small

-ing and building boats in his one-man shop. Mike has been Associate Editor for Sailor and Technical Editor for Soundings. He was Senior Editor here at WoodenBoat

-ment, he works as Boat Design Editor for


2013 Facultyin watercolor, oil, acrylic, and egg tempera. Jerry received his formal training in Fine Arts from Ohio University and Graphic Design from the University of Cincinnati, but his interest in realism came together 30 years ago when he felt it was important to paint a way of life that was quickly disappearing in the outlying islands of the Bahamas. That need created the search for methods of painting that would best describe the vanishing life before him and has helped him understand some of the old-world techniques to which he subscribes. Jerry is a member of the International Society of Marine Painters and a signature member of the Florida Watercolor Society. His work has been published in The Best of Watercolor by Rockport Publishers, Coast to Coast: The Contemporary Landscape in Florida, A Gallery of Maritime Art, Painting Light and Shadow, and numerous other art publications and magazines including Maritime Life and Traditions, published in Great Britain. He has received numerous awards and has had many one-man gallery, museum, and private exhibi-tions. His work is in public and private collec-tions in the U.S., Europe, the Bahamas, and the Caribbean. Jerry maintains a studio and home in Sedgwick, Maine, with extended trips to the Bahamas on his sailboat. www.jerryrosepaint-ings.com

GREG RÖSSEL grew up cruising on the waters of New York Harbor and spending time in the boat yards on the south shore of Staten Island where economics (more than anything else) made wooden boats the craft of choice. He makes his home in Maine where he specializes in the con-struction and repair of small wooden boats. Since graduating at the top of his class in boatbuilding technology from Washington County Vocational Technical Institute, Greg has had a multifac-eted career. For several years, he was an assis-tance restorer for a major private collection of antique runabouts and airplanes. Then he spent another couple of years as an instructor and assistant director at Maine Maritime Museum’s Apprenticeshop program. All the while, he was building his own shop at home in Troy, Maine, and tackling a wide variety of small-boat con-struction and restoration projects. For over 25 years, Greg has been able to work for himself full-time, aside from a few odd jobs like setting up a wooden Whitehall factory in Mexico, custom

lines taking and documentation for museums and other custom-ers, and writing over 200 articles for WoodenBoat, and other pub-lications. He has also written and illustrated Building Small Boats, a book on carvel and traditional lap-strake boatbuilding, published by WoodenBoat Publications and The Boatbuilder’s Apprentice, which explores other styles of construc-tion and techniques. Since 1987, Greg has been an instructor at WoodenBoat School in Brooklin, Maine, teaching lofting, skiff building and the “Fundamentals of Boatbuilding”. Also, for the past 21 years he has been producing a weekly two-hour radio program about world music (which mer-cifully) has nothing to do with boats.

Captain JOEL ROWLAND has been sailing since 1994. First as a student on a Hurricane Island Outward Bound expedition aboard a 30' open Pulling Boat, and then as deckhand and mate to his uncle Mike Rowland, for two transatlantic voyages aboard the 40' sloop TAMMY NOIRE. Joel has since returned to Outward Bound to instruct courses in Maine, Florida, and Puerto Rico. He is now the owner of TAMMY NOIRE, living aboard, sailing and chartering her from the island of North Haven in Penobscot Bay. Having learned as an adult from the most patient instructors and having taught sailing to many people of all ages and back-grounds, Joel is very comfortable sharing his knowledge and sailing skills, and enjoys helping others to �nd the beauty and simplicity in what can be a complex learning process.

ERIC SCHADE was trained as a mechanical engi-neer, and has practiced that profession for 20 years. In 1983 he built his �rst boat, a small strip-built canoe. Since then he has built more than 50 small boats, including kayaks, canoes,

rowing boats, and small sailboats. In 1996 he founded Shearwater Boats to offer custom strip-built canoes and kayaks. Gradually Shearwater has developed to the point where it offers an extensive line of stitch-and-glue watercraft - kayaks, canoes, rowing boats, and sailboats. In 2005 Eric started designing boats for Chesapeake Light Craft. These new boats include Shearwater, Wood Duck, and Shearwater Tandem, which have all proven quite popular. Eric has taught boatbuilding at a number of shops and has mentored the construction of nearly 200 boats. This experience, and the feedback he gets from supervising the construction of his designs, not only has improved his skills as a builder, but has honed his skills as a designer. Eric’s great-est area of expertise is the computer-generated engineering of complicated and precise plywood boat kits that, when cut by computer-controlled machinery, can be assembled by amateurs.

NICK SCHADE grew up around canoes and kayaks. After beginning a career as an electri-cal engineer for the U.S. Navy specializing in low-frequency electro-magnetics, he realized he wanted to get back on the water himself. Not

“In my two weeks at WoodenBoat School I never remember hearing the word ‘no’ or ‘we can’t/don’t do that’. Whatever the need, there was always an eagerness by your staff to meet that need. That is a remarkable attribute for any organization. Thank you.”

D.E., Ontario, Canada

lines taking and documentation -

ers, and writing over 200 articles -

lications. He has also written and illustrated Building Small Boats, a

-strake boatbuilding, published by WoodenBoat Publications and The Boatbuilder’s Apprentice, which

-tion and techniques. Since 1987, Greg has been an instructor at WoodenBoat School in Brooklin, Maine, teaching lofting, skiff building and the “Fundamentals of Boatbuilding”. Also, for the past 21 years he has been producing a weekly two-hour radio program

-cifully) has nothing to do with

has been sailing since 1994. First as a student on a Hurricane Island Outward Bound expedition

open Pulling Boat, and then as deckhand and mate to his uncle Mike Rowland, for two transatlantic voyages aboard

sloop TAMMY NOIRE. Joel has since returned to Outward Bound to instruct courses in Maine, Florida, and Puerto Rico. He is now the owner of TAMMY NOIRE, living aboard, sailing and chartering her from the island of North Haven in Penobscot Bay. Having learned as an adult from


2013Facultyable to afford the kind of boat he wanted, Nick decided to design and build a “stripbuilt” kayak. While this type of construction was popular with canoes, it was not commonly adapted for kayaks. Nick worked together with his brother to develop the process, and over the years has branched out and developed innovative kayak designs using the plywood stitch-and-glue method. As his skill as a kayak paddler and boatbuilder evolved, Nick’s designs evolved to match his changing aims. The driving goal has been to maximize on-the-water performance while respecting the natural materials used to create the boat. Out of these efforts, Nick has created Guillemot Kayaks, centered on designing high-performance sea kayaks for other craftsmen interested in build-ing their own boats. He wrote The Strip-Built Sea Kayak, an instruction book describing the strip-built method, which has helped foster a revival in the construction of wooden kayaks. Nick’s shop is currently located in Glastonbury, Connecticut, where he builds prototypes of new designs and makes a select number of custom-built kayaks. He has taught kayak construction at Mystic Seaport and the Connecticut Valley School of Woodworking. His work has been exhibited at the American Craft Museum, and one of his boats is in the permanent collection at the Museum of Modern Art in New York City.

GENE SHAW moved to Lancaster, Pennsylvania, in 1972 after receiving a Fine Arts degree from the Pennsylvania Academy of Fine Arts and a Bachelor of Arts degree from the Philadelphia College of Art. While at PAFA, he received numerous awards, prizes, and grants. In Lancaster, Gene combined his �ne art/design training and his love of woodworking, a skill he learned from his father, to establish The Wooden Plane, a custom cabinetry and home restora-tion business. He and his wife Tanis built a new home in town, featured in Fine Homebuilding magazine in 2006. The Historic Preservation Trust of Lancaster County twice awarded him the C. Emlen Urban Award, for preservation leadership and new-home construction in an historic district. Since 2005 he has traveled to Brooklin, Maine, to attend boatbuilding courses at WoodenBoat School. While here, Gene has made numerous sketches that are the basis for the woodcuts he creates upon his return to Lancaster. He has exhibited his work at the following Pennsylvania galleries: the Benjamin Mangel Gallery in Bala Cynwyd, the Gallery Doshi in Harrisburg, the Chestnut Gallery in Lancaster, the Lancaster County Day School, and the Lancaster Art Walk. He is also represented by The Turtle Gallery in Deer Isle, Maine.

WADE SMITH is from Vermont—born on Lake Champlain, grew up on the Connecticut River, and matured on the not-quite-canoeable streams around Brattleboro and the glacial lakes too cold for swimming in the Northeast Kingdom—so he grew to like boats of all kinds. After college and a few years at a job making circuit boards, he had an epiphany upon reading WoodenBoat No.114 about Lance Lee: Maybe what you like and what is your job should be one and the same! Wade attended the Apprenticeshop and built many great boats, including MADIGAN, the Great South Bay catboat on the cover of WoodenBoat No.209. For 13 years, Wade worked in the Boat Shop at Mystic Seaport; for his �rst two years under Barry Thomas, who had been tapped by John Gardner to run the shop shortly after Gardner came to Mystic Seaport. Gardner devel-oped his famous boatbuilding class over 20 years, and Barry took it over after John Gardner’s retire-ment. Wade, in turn, learned from Barry, and became the third and �nal Boat Shop Supervisor and Keeper of John Gardner’s original class. In 2006, Wade started working at Taylor & Snediker Woodworking in Pawcatuck, Connecticut, and was quickly drawn in by the challenges and rewards of working in one of the top boatbuild-ing shops in the country. Wade lives in North Franklin, Connecticut, with his beautiful wife


2013 Faculty

Elizabeth, two charming dogs, two or three preco-cious cats, 10 or 12 lovely Land Rovers, and an uncountable number of enticing boat-like objects.

The love of sailing has kept GRETCHEN SNYDER on or near the water for most of her life. For over 20 years Gretchen has delivered boats up and down the East Coast, across the Atlantic, in the Mediterranean, and throughout the Caribbean islands where she spent three years in the charter business. Her enthusiasm for sailing and boats is not only con�ned to the sea, but has also led to her own land-based business. Gretchen has owned and operated “The Loft” in Vineyard Haven, Massachusetts, a sail loft specializing in gaff-rigged working sails, as well as the canvas needs of the entire boat. She sold The Loft in July 2005 and decided to cruise new horizons, the sea of educaton. She is now a licensed ele-mentary school teacher presently enjoying her Kindergarten/First-graders on Martha’s Vineyard.

PHILIP S. STEEL’s painting career began as a teenager in Chester County, Pennsylvania. He studied drawing and painting at the Philadelphia Museum of Art and the Chester County Art Association. After college and a tour with the Navy, he completed a Master of Architecture Degree from the University of California at Berkeley where he continued his painting stud-ies. Much of Philip’s subject matter re�ects his

love of the sea and the people whose lives are affected by it. He’s a world traveler and has taught watercolor workshops in Italy, France, Scotland, England, and on Mediterranean cruises. Philip is an artist, an architect, and an active preservationist. He has gained world recogni-tion as an artist and his work is found in many corporate and private collections throughout North America. Philip has held a number of one-man shows in Pennsylvania, New Jersey, Maine, and Florida, and is listed in Who’s Who in American Art. Philip and his wife live in Ft. Pierce, Florida in the winter and Southwest Harbor, Maine during the summer and fall. He invites you to visit his website www.philipssteel.com to see his art-work and learn more about his life as an artist.

JON STROUT grew up on the coast of Maine, speci�cally Casco Bay. He has always been impressed by the natural beauty of Maine, but the beauty of the coast is most special, as it is constantly changing. For Jon, photography is an avenue to try to capture what he feels and

to re�ect the beauty and emotions of this pris-tine environment. Whether it is the power of a coastal storm or the simple beauty of barnacles captured in the light of a sunset, there is always something to be seen. Preferring to work in black and white, Jon is able to reduce an image to its basics of patterns, shapes, lines, and textures. By using these basics and their interplay with light, he searches for the extraordinary in the ordinary scene. Jon enjoys this challenge; it’s a passion. He has studied with well-known photographers Neal Parent, John Sexton, Brenda Tharp, and George DeWolfe among others. His photography has been exhibited throughout Maine, including Bowdoin College.

MARK SUTHERLAND has been building and repairing ship models and �ne marine antiques as a full-time professional for over 30 years. Born in Monrovia, Liberia, to American parents involved in the shipping industry, Mark realized at an early age that ships and the sea were the major interests of his life. He grew up in New York and began to build ship models at age 11. While living in Maine in his 20s, he worked in several boatbuilding yards and engaged in yacht deliv-eries to the Caribbean. His professional model-building career began on Nantucket in 1979 with the commission of several bone models and the restoration of scrimshaw artifacts. Since then, bone models and marine decorative arts based

on 19th-century design sensibility have been a major focus of his work. He also specializes in half-hull models based on an extensive study of the subject. He has designed and built several small craft, up to 22’, and restored many oth-ers, mostly for personal use. Since 1988 he has maintained a studio at the Emerson Umbrella Center for the Arts in Concord, Massachusetts. In 1997 he was awarded the Arts Fellowship in Crafts from the New England Foundation for the Arts.

BILL THOMAS grew up paddling the rivers and coast of North and South Carolina, playing in the mountains and trying �nd meaningful work while avoiding a real job. He has been a self-employed woodworker, cabinetmaker, furniture builder and boatbuilder for nearly 35 years. Being an avid sea kayaker and boater, Bill also designs sea kayaks, canoes, and other small boats. Bill teaches woodworking and boatbuild-ing in his own shop, at the WoodenBoat School and in other venues across the United States. Bill is a Registered Maine Guide, and holds a Wilderness First Responder certi�cation. In addition to his shop classes Bill also leads on water kayaking and sailing classes. The variety of work Bill does: building, designing and teach-ing both in the shop and on the water, when coupled with his passion for the outdoors, helps to keep his skills rooted in real world experi-ences. And, it keeps him from getting bored. Bill lives, works, and plays in Maine.

MYLES THURLOW was raised on the island of Martha’s Vineyard off the south coast of Massachusetts. He began his boatbuilding career at the age of 12, serving as an apprentice at the Gannon & Benjamin Marine Railway in Vineyard Haven. Through his experience with Gannon & Benjamin, as well as his time sailing on vessels such as WHEN AND IF, ALABAMA, and the PRIDE OF BALTIMORE, Myles developed his

ALUMNI WORK WEEKSMAY 19–25 and MAY 26–June 1


Each year we traditionally mark the opening of our summer season with two weeks in the spring in which a number of our alumni come to Brooklin to help us open our doors. Alumni give us a week or two of their time and tal-ent, and we return the favor with a week’s room and board, plenty of appreciation, and a few surprises thrown in to boot. There’s plenty to

do on our waterfront, in our shops, and at our dorms.It is also a wonderful week of camaraderie with

folks getting back together in this beautiful setting to relax, talk boats, and share stories. Call after January 3rd if you’d like to be added to the lottery list. We’ll pull names in March for these two popular weeks.

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2013 Facultyfocus on the arts of traditional rigging. Opening his own shop in 2003, Myles led the rigging of the schooner JUNO and has continued to expand his rigging shop to include spars and hardware, as well as the occasional restoration project.

Patching Boy Scout canoes on Maine’s Allagash River in the mid-1960s was ROLLIN THURLOW’s �rst successful canoe-building experience--suc-cessful, but not very graceful! After graduating from Maine Maritime Academy and a tour in the Navy, Rollin attended the wooden boat building program at Maine’s Washington County Vocational Technical Institute. His interest lead him to col-laborate with Jerry Stelmok to start their own wooden canoe building company. While wooden canoes have had a long history, Rollin and Jerry discovered that there was precious little writ-ten about the actual how-to construction of the canoes. The canoe company became a real rein-venting-the-wheel type of project--long on desire but short on capital and business skills, leading to the demise of the original company. But it was not long before with renewed interest and skills, Rollin started his own company, the Northwoods Canoe Company. Co-authoring with Jerry the book The Wood and Canvas Canoe ensured that the how-to and historic information they had collected would become available to the public at large. Since its publication in 1987, it has become the bible for wood-and-canvas canoe building. Rollin has taught canoe building and restora-tion at a variety of locations throughout the U.S.

and at WoodenBoat School since the late 1980s. Building a variety of his own designs plus his-toric reproductions, Rollin’s shop in the small town of Atkinson, Maine, the Northwoods Canoe Company, has become known as one of the pre-mier wooden canoe shops for both restoration and new wooden canoes.

Descended from grandparents who logged over 100,000 nautical miles, HANS VIERTHALER has spent over 20 years sailing the coast of Maine. His love affair with boats started when he spent six years working for a sailboat rental company in Deer Isle, where he took care of a small �eet and taught sailing to vacationing summer resi-dents. He then became interested in larger ves-sels and crewed on the schooners NATHANIEL BOWDITCH, AMERICAN EAGLE, BILL OF RIGHTS, and NEW WAY, as well as other, smaller boats. Ten years ago he joined the crew at Brooklin Boat Yard as a rigger and carpenter, and in 1992 he earned his 100-Ton U.S. Coast Guard Captain’s license. In 1994 Hans ful�lled a longheld dream and purchased the John Alden ketch ABIGAIL, and he looks forward to sharing his love of sailing with all those who step aboard.

STAN WASS has been pushing canoes and kayaks around with paddles since childhood. Indoctrination started early with several sum-mers spent learning how to paddle canoes from a Micmac Native American. Stan’s early ocean adventures were always in search of bigger and

bigger waves to surf, sometimes requiring miles of �atwater paddling in whitewater kayaks. New designs and sea kayaks from England eventu-ally made getting to the �nal destination as much fun as the waves. Sam has worked for Necky Kayak Company for many years, guided in Canada for the past 10 years, and is a certi-�ed sea kayak and canoe instructor, as well as a registered Maine Guide. He has taught kayak-ing clinics and classes from Maine to Texas and takes particular pleasure in teaching slightly apprehensive, novice paddlers. During the off season, Stan lives in northern Maine, and man-ages a vaction spa for dogs (boarding kennel). He and his wife Susan raise and show champion Bullmastiff dogs.

TIM WHITTEN was inspired by maritime life and traditions at an early age, having grown up near Mystic, Connecticut, but it wasn’t until after completing a doctorate in engineering that he fully realized his artistic potential. At that time, Tim found an old, but not forgotten, volume of fancy work on his bookshelves and realized that after 20 years and three engineering degrees, the descriptions of knots and fancy work were much easier to follow. Paradoxically, with the advent of the Internet, traditional materials were also much easier to acquire. Tim began mastering his skills through self-instruction, put together a website called www.Marlinespike.com, and soon found himself sending out more bell ropes than résumés. Tim’s work is known around the

WOODENBOAT SCHOOL STAFFOur staff members generally hail from all over the country and from many walks of life. Many of them are seasoned veterans of the joys and travails of boats, boat-ing, and boatbuilding, while others are warm, friendly faces doing their very best to make your stay with us a pleasant, comfortable one. From the School Director to our energetic kitchen, waterfront, shop, and of�ce staff, each member possesses a strong commitment to a �rst-class program and the creation of a positive, safe environment for students and visitors alike. Above all, they enjoy sharing this “little piece of paradise” with all who stop by.

ADMINISTRATIONThe folks who administer WoodenBoat School believe that each student’s experi-ence is of the utmost importance. From your very �rst communication with the School of�ce to the completion of your course(s), they will work hard at meeting your needs and expectations.

RICH HILSINGER �rst arrived at WoodenBoat School as a student back in 1983, and he’s been in Brooklin ever since. Rich managed the School shop for seven years, working under former directors Peter Anderheggen and Ben Ellison. He also taught courses in kayak and pram construction, experiences that he cher-ishes to this day. Woodworking became a part of his life after attending college in Pennsylvania, and he’s dabbled in everything from house carpentry to restaurant and bar renovation, barn restoration, and cabinetry. The “boat bug” bit while Rich wintered in the Caribbean in the 1970s, and, obviously, he’s still hooked! After sailing for two years with the four-masted bark SEA CLOUD as ship’s carpenter, he assisted on yacht deliveries; did boat repair; worked at two of Maine’s premier boatyards, North End Shipyard in Rockland and Brooklin Boat Yard; and pur-chased his own Crocker pocket cruiser, MARTHA. Rich stepped into the position of School Director in 1990 and has enjoyed bringing insight, energy, and full-time dedication to WoodenBoat School. When he is not involved with work at the School, he enjoys hanging out with family, friends, gardening, sailing, skiing, and cheering for the Philadelphia Phillies.

KIM PATTEN continues as Business Manager for her eleventh year. Prior to join-ing WoodenBoat School, Kim spent �ve years as part of the WoodenBoat Store “team.” Originally from New York, she has spent every summer of her life in Maine, before making the move permanently after college. While summering in Maine, she spent her days sailing on Penobscot Bay. Kim and her husband Marvin keep busy working on their home and raising their daughter Riley. She enjoys the outdoors, sailing, skiing, and spending time with family and friends.

A longtime interest in woodworking led MIKE MOROS to open his own successful cabinet shop not far from where he grew up in Pine Brook, New Jersey. Over time, he found himself attracted to wooden boats and this eventually brought Mike to WoodenBoat School as a student in 2001. After a few courses in successive years and joining in on Alumni Work Weeks, the boat bug bit hard and Mike signed on as the school’s Assistant Shop Manager in 2006. In ’08 Mike took over the reins as Shop Manager. During the off-season Mike has worked on the carpentry crew at Brooklin Boat Yard. In 2009 Mike opened his own business, Michael Moros Woodworking, providing wooden boat work, custom woodworking and general contracting. When not working, Mike enjoys being outdoors, especially boating and �shing. He recently completed a handsome GlennL Marine 16' center console skiff for himself and is now restoring a 1952 Chris Craft.

Born and raised in Waterloo, Ontario, Canada, GREG BAUER came to boatbuilding as a third career later in life. Before the boatbuilding bug bit hard, he worked for six years as a design draftsman for a metal fabrication shop and for ten years as an accounting manager of an auto parts manufacturer. A couple of sailing experiences on the Maine windjammer ROSEWAY led Greg to the world of wooden boats, and he soon enrolled at The Landing School in Kennebunkport, Maine. After graduat-ing from their boatbuilding program, Greg joined the school’s staff as a graduate teaching assistant. He then spent three years as a joiner with Bruckmann Yachts in Mississauga, Ontario. Greg moved to mid-coast Maine in the spring of 2002 and spent nine years with the boatbuilding crew at French & Webb in Belfast, Maine. In the spring of 2011 he joined the staff at WoodenBoat School as Waterfront Manager. In the fall of 2011 he started his own business, NB Woodworking, spe-cializing in yacht joinery, custom cabinetry and �ne woodworking.


world, and he now runs a year-round shop and gallery in Stonington, Maine, called the Marlinespike Chandlery.

DOUGLAS E. WILSON has been a practicing metalsmith since 1973. He has commissioned work in forged steel from his shop on Little Deer Isle, Maine, since his move there in 1981. Doug’s work is included in numerous national exhibitions and publications including The Contemporary Blacksmith, Fireplace Accessories, Anvil’s Ring, and Metalsmith Magazine. He has demonstrated his craft at many national blacksmithing conferences and has taught over 100 workshops about design and forge practice for blacksmithing organizations, school, col-leges, and universities throughout the United States.

JOHN WILSON grew up in upstate New York’s Finger Lakes district where life with sail, oar, and paddle and the boats so powered was an important part of his childhood. At the age of nine, he and his older sister bought their �rst sailboat, a used 12’ Moth; and at 14 he had a Snipe built by Emmons Boats which he raced for six years. College led to a 10-year career in teaching anthropology, then another decade as a residential contractor and woodworker. He renewed his life with boats by participating in Tom Hill’s Wee Lassie course at WoodenBoat School in 1986. Since then he has combined teaching, woodworking, and a love for boats and spends more time building boats and teach-ing others than on the water. In 1988, he founded The Home Shop in Charlotte, Michigan, where John offers quality wood instruction to the home craftsman. For the past 23 years, John has also taught boatbuilding at Lansing Community College in Michigan. John is best known for being at the forefront of the revival in Shaker oval box making, both as a teacher and supplier of a full range of materials for the craft www.ShakerOvalBox.com.

DAVID WYMAN’s �rst boat was a 7' scow with a bed sheet for a sail, which he built at the age of 10 with his grandfather. His life has revolved around boats ever since. In addition to the numerous small craft he’s built for his own use, David has designed and surveyed hundreds of vessels of all shapes and sizes. His professional boat-ing career began after he graduated from the U.S. Merchant Marine Academy and joined the Coast Guard where he served as a marine inspector. After obtaining a master’s degree in Ocean Engineering, he taught at the Maine Maritime Academy. After nine years of teach-ing, David moved to Panama City, Florida, to go boating year round and to work at the Naval Research Laboratory. There he developed tools for divers for inspecting and maintaining ships, and designed specialized craft for the Navy SEALS. David currently operates his own business in Castine, Maine, designing and surveying all types of small power and sail vessels, both commercial and pleasure, including Coast Guard–approved passenger vessels. His professional credentials include marine surveyor accreditation from SAMS, licensure as a pro-fessional engineer in Maine, and USCG-licensed master of power and auxiliary sail vessels.

2013Staff


2013 Registration/InformationSTUDENT QUALIFICATIONSThe main requirement for participation in WoodenBoat School courses is the desire to learn. Our students range from novices to seasoned pro-fessionals. Our classes are small, and there is a lot of opportunity for one-on-one teaching, so that usually a wide range of students can enjoy and pro�t from the same class. However, there are a few courses for which we expect a certain minimum skill level, and that is stated in the individual course descriptions. Also, we encourage students, particularly nov-ices, to do a little prep work for their courses. We will send tool lists and reading lists along with your course con�rmation. The more familiar you are with the subject and the tools, and the more questions you have, the more you’ll get out of the course. If you have any questions about the suitability of a course for you, please call Rich Hilsinger. Finally, it is a real help to the instructor to know something about his/her students ahead of time. Please enclose with your application a description of your relevant experience and expectations.

REGISTRATIONRegistration is complete upon receipt by WoodenBoat School of an application form and the necessary deposit(s), and our con�rmation of same. If a course is already full, you will be put on a waiting list and immediately noti�ed when there is an opening. You may wish to call WoodenBoat �rst to make sure that there is room in the course you want. Call 207–359–4651 Monday through Friday, 8:00 to 5:00; ask for Rich Hilsinger or Kim Patten. If we have an opening, we can reserve it for you while you get your application in. This is an espe-cially good idea in late spring and summer.Note: WoodenBoat School is GI Bill approved.

TUITION, DEPOSITS, REFUNDS, WITHDRAWALS, and CANCELLATIONSTuitions vary according to our costs and the length of the course. You will �nd the tuition amount(s) printed below each course description. We ask you to deposit one-half of your total costs along with your application. The balance due must be paid one month before class begins. Your deposit, less a $100 fee per course, will be refunded in the event that you must cancel and do so at least one month prior to the beginning of the course. Deposits will be refunded in full to students who cancel three business days after reg-istering for a course. If your notice of cancellation is received be-tween 15 and 30 days prior to the course, your tu-ition is not refundable, but can be credited toward future courses later in the season. If you must can-cel less than 15 days before the course, we cannot refund or credit your money. In case of emergency or insuf�cient number of registrations, WoodenBoat School reserves the right to cancel a course and return all de-posit money.

Because of this policy, we strongly urge you to buy refundable airline tickets or �ight insur-ance. WoodenBoat School will not be responsible for any loss on nonrefundable airline tickets.There is a 10% discount on tuition for all alumni.

SCHOLARSHIP PROGRAMThe school has a one-third tuition scholarship available for all courses in Brooklin. These are awarded to people who could not otherwise af-ford to participate in our courses, with preference given to people who are working in the marine trades and to students contemplating a career in the marine industry. Scholarship recipients will be assigned periodic tasks in the shop, in the kitchen, and on the waterfront.

TRANSPORTATIONWoodenBoat School is approximately 250 miles from Boston by car, and 150 miles down east by boat. Airline service is available to Bangor, and WoodenBoat can provide transportation from there for an additional fee. Please notify us two weeks in advance if you need to be picked up at the airport. Details of this will be sent to you with your course con�rmation.

ACCOMMODATIONS AND COSTSStaying at the WoodenBoat accommodations is recommended by us and by former students. Evening socializing and boating become, in ef-fect, an extension of the courses, and add immea-surably to the School experience. We have a number of rooms in both the Farmhouse (next to the Shop) and in the Student House on Naskeag Road. The rooms are doubles, not fancy, but clean and airy. Bathrooms are shared by several rooms, and students bring their own sheets, soap, and towels. Family mem-bers are welcome as space permits, but pets are not. Guests may take room and board with us depending on space availability. We also have campsites available on the WoodenBoat property. Again, these are quite ba-sic, with no electrical outlets or tent platforms, but in a pleasant location. Campers have their own toilets and shower facilities. Pets are not al-lowed in the campground. Our kitchen and dining hall are located in the Student House (originally the Mountain Ash Inn). The cuisine is American with some gourmet treats. Ingredients are fresh, portions are hearty, and service is buffet style.

Room: $294.25/weekBoard: $187.25/weekCamping: $107/week (limit 4 people)Mooring: $100/week

Note: If you reserve a room with us and de-cide to cancel this reservation, you must noti-fy us two weeks prior to the start of the course to receive a full refund. Lodging/meal prices include 7% tax where applicable.

For students taking a single week course, room and board extends from Sunday dinner through the following Saturday’s breakfast. For students in longer courses, room and board runs from the Sunday on which the course commenc-es until the Saturday morning following the last day of the course. Weekend meals are light and continental. Maine can be on the chilly side during late spring and early fall. We recommend that you pack warm clothing and throw an extra blanket or sleeping bag in the car. Bring a bike if you have one—it’s a great way to get around Brooklin.

COURSE MATERIALS AND TOOLSAny materials that go home with a student will be charged at our cost. In the several classes where every student works on his/her own project, we have noted the usual material costs in the course description. Material prices include 5% tax where applicable. You will be sent a list of the hand tools you will need for your course as speci�ed by the in-structor, as well as suggested preparatory reading.Winners of boat ra�es will be responsible for paying material costs before leaving Brooklin.

ARRIVAL TIME AT WOODENBOATYour course begins with dinner at 6:00 p.m. on Sunday, followed by a general meeting and an introductory session with your instructor. The Sunday dinner is for all students, whether or not they are taking board with the School. You may arrive at the School anytime you wish on Sunday. You will �nd room assignments and other infor-mation posted in the entryway of the Student House. The School Director will be at the Student House at 5:00 p.m. to meet you. Most classes end on Friday afternoon. Students are asked to depart on Saturday morning. If your course ends on Saturday, you have your room/campsite for Saturday night.

First day of registration is January 2, 2013 at 8 a.m. EST. Phone lines and faxes will be very busy—we ask for your patience. When calling, please be ready with info regarding course

selection, accomodations, and a credit card for your deposit.

We recommend that you think of alternative weeks/courses in the

event your �rst chice is not available.




Magazine

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For over 37 years WoodenBoat magazine has inspired its readers with boat-building projects, tips and techniques, technologies, history, product and book reviews, design commentary, and more. The magazine’s editorial and business offices are located on the same grounds as WoodenBoat School, allowing an easy exchange between the magazine’s editors, the school’s students and instructors. In fact, many instructors take time from their busy shcedules to write for the magazine, and occasionally a school project is featured in WoodenBoat as a how-to-build article. A one-year subscription (six issues) to WoodenBoat costs $32.00 in the U.S.



Open Monday-Friday, 7:30am to 6:00pm, and Saturdays 9:00am to 5:00pm. We carry books, boatbuild-ing plans, half-hull model plans, WoodenBoat caps, T-shirts, tools, and great gift-type items... should you want to bring home something for your significant other who was so nice about you playing with boats for a couple of weeks. AND, even though we are in the wilds of Maine, you can stay con-nected, as we are THE hot-spot, so bring your laptop with wireless access and you can email pictures home of your class. It’s HOT all night long, so you can sit out on the Store porch after dinner and surf to your heart’s content.




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