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BNIGIFITESI trBies 1 JULY 1989 e y 4- Bl qns pamlinia style launch and 1920’s yacht £1.50 ISSN 0144-2510 | || | 07 9″770144’291 | very brief progress report on Orion, which consists basically of the news that there has been no progress with the restoration since I last wrote, but that I had a phone call from Walter Grint of the Norfolk and Norwich club, who told me that he remembered the boat being sailed to considerable effect just after the war; and that he had also had a boat to the Stella design. More important, he told me that Mr. Smith, the original builder, was still alive and was able to give me an address for him. I hope to get more information about the boat and her history in this way. If there is anything interesting, it will be reported here in due course. American branch in due course. At present, I have a small number of individual correspondents in Canada and the USA; some are extremely enthusiastic and others already have considerable achievements under their belt, but they are spread so thin and over such vast distances, from Florida to the far north of Canada, that it is hard to see the immediate development of a North American group with a corporate activity. The committee will be putting some ideas for consideration to the membership by the time you read this. 12 Metres The photo is not of course of a vintage 12M of the style sailed in the early part of the century and persisting until after the war in Scotland. They were at lin. to the foot scale (1:12). This is a contemporary : % A 1:10 scale 12-metre from the Sverige plug. Photo: Maris Rydin. Vintage Group At the Bournville Vintage day on April 16, on which there will be a full report later when I have all the photos developed, we finally managed to hold a general meeting. A number of important issues were raised concerning the future organisation of the Group. The firm decisions included one that there would be a committee put together on a regional basis, with one member from each MYA District and one from Scotland and that the committee should look at the possible changes in the name and organisation of the group so that it was no longer confused with wine enthusiasts and was more akin to a normally affiliated club, rather than the loose grouping of individual members of the MYA that is the present format. The present organisation “just growed” and reflects my own convenience in running the Group as a part of my work as MYA General Secretary. As I shall be giving up the latter post at the end of the year, but continuing as VG Secretary, we need to look at organisation. This will also give us an opportunity to make it easier to incorporate the small group of Scots who are interested in vintage developments but, for reasons of national sentiment, feel some diffidence in joining to the MYA. It may also ease the development of a North 12 model to 1:10 scale and is in fact based on the tank test model for the Swedish challenger Sverige of 1980. She is owned by a Swede living in this country and is one of the few examples of these boats in Britain. There are more in Sweden and an active group in France. The rig and controls tend to be more complex than the general run of model yachts and run to radio controlled genoas and spinnakers. In Sweden the original arrangement was for a crew of two to sail the boats with independent radio control of the spinnaker. This called for very close co-operation between crew members (or, if you like, it offered an extremely high possibility of cockup and mutual recrimination). As I read the coverage of French developments in “MRB”’, all the miles of string and complex rig adjustments on their boats are run from one radio transmitter and by a single skipper. The French have progressed to the stage of a national championship with sponsorship backing and a small circus of boats that are able to give regular competition. IMYRU is tentatively attempting to get a hold on the Rules. All are in theory the present full size Rule at 1:10 scale, but I understand that there are variations from place to place over the way in which divergences from the Rule to allow increased draft are handled. Now that it seems to be agreed even between the New Zealanders and San Diego that, whatever else happens, the next America’s Cup contest will be held in boats to a new Rule and the 12M will effectively cease to be a current full-size Rule, I can’t see anyone choosing to continue to build full size boats to the Rule without the America’s Cup to back it up. What effect will this have on model 12M development? Will the model 12M havea life of its own after the demise of its full size equivalent? Discuss, with reference to the survival of the 10-rater Rule after 1896. Answers on the back of a postage stamp, if you care to contribute. 1920’s 10-rater hull. A very extreme scow form. An 80cm Boat? This is where the column degenerates into its usual rag bag format, hanging commentary on the photos that I happen to have to hand at present. First a schooner hull that may be built to the French 80cm Rule of the early years of the century. It seems to have no form of automatic steering, and so may not bea serious racing model, but the general style of the boat is, I think, influenced by the appearance of boats to the Rule. This example probably dates from the late 1920s, by which time the Rule had ceased to be a recognised Rule in this country and was only in regular use in the Bristol Channel area. It is difficult to be absolutely certain that a boat is in fact to this Rule because there are only a very few surviving examples or designs to give one an idea of the form of the hull produced by the Rule and because firm and final attribution would depend on a full measurement to the Rule which is complex and time consuming procedure. That said, the boat appears to be similar in general concept to some of the drawings of boats to the class, though shallower in the body and deeper in the fin than some. I think that her form would produce a fairly big girth differential measurement, “D”’, which would have the effect of reducing her sail area, all other things being equal. The schooner rig is a little unusual, but there was a vogue for such rigs in the years either side of the 1914-18 war and there is an extant drawing of an 80cm schooner by Turner designed in 1915. This boat is not to that design which, so far as we know, was not built to until the present year. There is at least one example now under construction in the Midlands. The 80cm Rule was developed specifically for models. The formula was L+B+1/2G+3D+1/3/SA Early International Races The English MYRA, predecessor of the MYA, was founded in 1911 and decided early on that one way to make an impact on the national consciousness was to organise international competition. This was greatly aided by the interest of two successful businessmen with particular interests in both modelling and international sporting links. Percival Marshall had founded Model Engineer as a penny weekly in 1898 and had built on it a publishing concern that specialised in popular handbooks on many aspects of modelling, light engineering and workshop practice. By the immediate pre-war years he was well established as a specialist publisher running a successful and profitable business. Through his magazine he had made many contacts abroad and he seems to have been a competent linguist. Bassett-Lowke had started his model engineering business in Northampton at about the same time as “ME” hit the bookstalls and by 1908 had opened a shop in Holborn. By aiming resolutely at the top end of the market and selling a range of quality products to the well heeled he had made a considerable success of the business and produced a wide range of model engineering goods from 15in. gauge steam locomotives to the design of Henry Greenly to model boats both power and sail many of which were designed by Edward Hobbs, who was manager of the Holborn shop from its inception to shortly after the start of the war in 1914. Bassetts, in common with other suppliers of the period, such as Gamages, would supply to special order model racing yachts, “designed by naval architects, built by experts, fully equipped with automatic steering gears and in all respects ready for 2 competition.” Hobbs was an Associate of the Institute of Naval Architects and at this period his expert builder was a Swede called, if I recall correctly, Peterson who lived in North London. A 12M cost fourteen guineas £14.70) form Gamages in 1913 and as late as 1929 Bassetts were advertising 80cm boats for £19 5 0 (£19.25). Hobbs was also the founding Secretary of MYRA in 1911 and very probably the link between MYRA’s desire to make an impact on the press and Bassett-Lowke’s internationalism. The procedure by which contact was made with French and Belgian model yachtsmen is now lost, as are the reasons that prompted MYRA to adopt the Continental Rule in 1912 asa means to promote international competition. It is likely that BassettLowke was behind this as he and Greenly had visited France and Belgium in 1912 and he seems to have contributed to the funding of the trip to France in 1913 for the first formally organised international model yacht races which took place at Enghien-les-Bains, a spa town then on the outskirts of Paris. Teams of three boats represented each country and there were intended to be power boat competitions as well, but in the event, only the English party were able to run and these became a demonstration. The accounts of the races as handed down in Hobbs’s book and in Daniels’s brief reference to the event in Model Sailing Craft lay emphasis on the overwhelming nature of the English victory (each of the English boats won every board they sailed, with the French and Belgians able only to take a point from each other) and on the magnificence of the prizes, including a Sévres vase donated by the President of the French $ = 80cm (81.5 inches) L was the LWL length, B the greatest beam, wherever found, G the chain girth wherever found, D the girth difference at the girth measurement point. SA was of course the sail area. Those of you familiar with the history of rating Rules, (both of you?) will instantly recognise this as the 1906 version of the IYRU Metre boat Rule with the omission of the bow and stern girth taxes and the freeboard element, giving a freer form to the ends, more comparable to the shallow form of overhangs that were then current in the 10 rater Rule. These changes seem to have permitted a wider range of hull forms than that resulting from the full rigours of the [YRU Rules. We know very little of the development of the 80cm Rule on the continent, though there are a few designs to continental Rules published in Model Engineer in the years before 1914. JULY 1989 Heavily restored Victorian toy hull. 13 Republic. The contemporary account in Model Engineer is more revealing and, reading between the lines, one can see that the event was something of a disaster organisationally, with an unsuitable course laid out on a large lake and hedged in with wire netting, requiring a skiff patrol to turn boats that came to grief on the wire. The wind was fickle and it rained on more than one occasion during the weekend’s activities, which were frequently interrupted for lavish lunches and other formal entertainments in the casino. Bassett-Lowke and Percival Marshall accompanied the English party as did Hobbs and a small group of spectators drawn from the extremely gentlemanly Solent club. From the extent to which Marshall and B-L are mentioned as replying to toasts on behalf of the English party, it seems that no-one else had any French. The English skippers comfortably demonstrated the superiority of English design practice and the Braine gear over the less scientific practices of their rivals and returned well satisfied. At least one of the boats, Bill Daniels’s Ariel, stayed behind in France sold to a defeated competitor. A return match was arranged for London in September 1914, but because Another of the restored Victorian toy hulls. of the outbreak of war this never took place. Some of the French model yachtsmen came over to London earlier in that year to attend the “ME” Exhibition, which was then held in the early summer, and in a speech at a dinner given for them Bill Daniels referred to the crushing defeat they had suffered the previous year. He told them not to be discouraged, as they had so recently discovered truly scientific model yachting that it was only natural that they should take time to master the new methods which English skippers had been using since the early years of the century. What he had in mind was undoubtedly a design incorporating the use of a calculated hull balance on the drawing board and the use of the Braine gear. What he probably didn’t so readily appreciate was the effect of regular high quality competition in England. At least in the London area, the London League 10-rater competition and other regular interclub competitions had honed the sailing skills of the best skippers to a high level, while the little evidence I have seen on model yachting on the continent at this period and for many years after suggests that there was nothing like the regularity and intensity of competition that was found on this side of the water. For 14 instance, though the 80cm Rule was used in Paris and elsewhere in France, different Rules were used in Belgium and at Le Havre. There seems not to have been the number of clubs in and around Paris that there were in the London area and the sport took much longer to develop a full scale organisation than was the case on this side of the water. If anyone can supply more information about the early development of model yachting on the continent I should be very pleased to hear from them. That seems a lot of verbiage to hang on a couple of photos of a boat that may not be to the 80cm Rule at all, so I shall give you some more piccies and less chat for the rest of the column. Models at Auction A collection of photos which I took at a London auction house earlier in the year, which show the sort of thing that appears and the sort of nasty that some people can perpetrate on an innocent model, even with the best of intentions. There are the boats that have been inherited or found by people who don’t know one end of a boat from the other. They do nothing to them except dust them over and set a reserve figure. A typical example is the extremely scow-like 10-rater hull in photo 5. If the painted waterline is indeed where she floats the effect of the design is very clearly demonstrated; the static waterline is probably under 36in., giving a sail area over 1600sq. in., but as soon as she heels only a little bit the effective sailing length will go up to well over 40in. and possibly as much as 50 inches. A design by W. J. E. Pike which was even more puntlike, without even pointed ends, was published in “ME” in 1911, but there is no evidence that it was built to. The present model dates, I should say, from the early 1920s and is built essentially from three planks, rather like a Thames punt with pointed ends. She may have been fast in flat water and light weather, though the rather inadequate ballast would have cailed for a smaller suit of sails at a fairly early stage of the game if the wind started to get up. She had a more or less standard set of deck fittings and a Braine gear quadrant, all in brass. The deck was interesting, being made of a sheet of very yellowed and now very cracked celluloid of the type used for windows in the soft top hood of convertible motor cars at the period. It must have been about in. thick and can hardly have been lighter than a wooden deck. The only advantages I can see are that it needed no finishing and you could 19th century schooner hull; a decorator’s piece which cries out to be rerigged and sailed. see whether the boat was filling up with water. The owner did make a tentative contact with me before the sale, but then drifted away, no doubt thinking that he could make a better price at auction. Another type of auction entry is the genuinely old hull restored to within an inch of its life. There were two examples on offer, both repainted to a high standard, beautifully done but without anything to show that the boat is an antique other than the shape of the hull itself. Sometimes the remaining finish on a hull is such that there is no alternative to a complete replacement, but my personal preference is for something that will have some connection with the style of paintwork that the original would have had. The two hulls are both superior Victorian toys; the straight stemmed one is about three feet long and has a rather crude and heavy body with an exaggeratedly deep keel. The rig would undoubtedly have been a gaff cutter with a substantial bowsprit. The second is both smaller and more delicate, with a pretty clipper bow and a more modest displacement. Also among those present was a 19th century schooner, probably to the “1730” Tonnage Rule and probably a 20 tonner. This boat came complete with sets of spars for at least two rigs and had been carefully cleaned and revarnished. The hull itself looked good, but the new hatches and stand looked amazingly new and in no way matched the original. A curious feature was the insertion of loose bottom boards inside the hull. It’s impossible to see what purpose these can be intended to serve, except to show that the restorer was not au fait with the equipment of a model of this type and to show that he was insensitive to the concept of matching the style of additions and substitutions to the original. A further example, almost certainly from the same hand, is the little static model in photo 9. The original is A charming caricature model, with some inappropriate additions. almost a caricature rather than a realistic model of a small sailing craft, but none the worse for that. It had at some time been painted white all over. Most of the paint had been taken off, but where new material was needed, as in the cabin roof and spars, no attempt had been made to match it up. Indeed, the raw newly varnished yellow wood was the main clue that several of the boats in the sale had been restored by the same hand. The new parts were crude, but in a different way from the rather amusing crudity of the original, and really very inappropriate. As a relief from this sort of thing, two “A” boats. One is a Gosport boat K715, Penthesilea, dating from the 1950s. She is planked and varnished and appears to be more or less untouched since she was laid aside from serious competition. The construction is interesting in that she is planked right down to the lead and to the tip of the deadwood aft, with no solid wood except in the backbone. This is sheer showing off by her builder and very nice to see. The other is K966 Invicta built to a Joe Meir design by Alf Larraman in the mid 1960s. There were a two or three GRP boats to this design in the Birmingham area. This wooden version was very badly damaged at some stage and has been the subject of a major rebuild by Philip Leigh, which took two years’ work off and on and involved replacing most of the bottom planking and most of the fittings. As Philip has been a restorer of stringed instruments in his time the work is to a high standard. It was very cheering to find that Invicta’s purchaser wanted to sail her and to join the Vintage Group. She and Esther, Bill Daniels’s Championship winner of 1950, which was sold at an auction last summer, turned out for the Vintage Day at Bournville and spent most of the day charging up and down the lake in the cold and blustery wind. Most boats that go to auction end up with interior decorators or others who want the boats for purely aesthetic reasons and will never sail them, so you can imagine how pleased I was to welcome them to the fold. Contact address: R. R. Potts, 8 Sherard Road, London SE9 6EP. Tel: 01-850 6805. The ‘A’ boat, Invicta K966, built by Alf Larraman, restored by Philip Leigh. Another ‘A’, Penthesilea K715, a beautifully planked hull from the 1950s. A finefully planked andframed model ofHMS Rattler, circa 1845, 60 in. long. Sold on 14 April 1989for £2,600. Our next Maritime sale will be on 7 October 1989. If you have any items you would like to enter for the sale please contact Tom Rose on (01) 581 7611. Closing date for entries 6 August 1989. 85 Old Brompton Road, London SW7 3LD Tel: (01) 581 7611 JULY 1989 Kindly mention Model Boats when replying to advertisements 15 DOUBLE BILL_ Evocative of a past era, Jenny waits for a favourable breeze. the bowsprit were fashioned from flattened this brass tube. Sails Ideally the sails should be made up from union silk which was the material of the period. Unfortunately this is no longer readily available, so Jenny has a suit of modern lightweight terylene. These were made by Martin Roberts of Housemartin Sails, whose address is 51 Edinburgh Road, Prenton, Birkenhead, L43 ORJ. However, if you wish to make your own there is an excellent feature on sailmaking by Russell Potts accompanying this article. Rudder Assembly Two lengths of tube with a slide fit are required, the outer tube is epoxied into the hole in the inner keel. The lower end of the inner tube has a small rod soldered in place to act as a hinge on the pivot plate (a length of flattened tube) which is epoxied into the keel. If you can’t find a collector’s item, then the next best thing is to build our replica. Radio A two channel set was fitted to Jenny and a standard servo is used to control the sail arm. The sail arm uses two short lengths of square tube (sliding fit again) which allows the sail arm to be disconnected before raising the hatch for radio access. Finally, Jenny is a lightweight fairweather yacht so look out your twenties style striped blazer and straw boater. ~~ hen Douglas McGhee was «planning Jenny, he rang me to ask if I would be interested in being quoted as a potential sailmaker for those who wished to build her. I demurred, as making things for other people, even for money, eats too deep into the time I need for other things. I did say that I would write a short piece on how to make cotton sails for the benefit of those who wanted a more authentic style of rig than terylene would give. In preparation for this, I had a look at what the various ‘how to do it’ books since 1879 had to say about sailmaking. In most cases it was precious little and none of it 32 much help to a beginner in 1989. The only book to have a clear and comprehensive description of the complete process is Daniels and Tucker Model Sailing Craft. There were editions in 1932, 1939 and 1952 and if you want to try the classically correct way, you should be able to get a copy from your local library through the inter library loan service. You will find some difficulties as the basic materials that they refer to, Union Silk sailcloth and the right size and weight of linen tape, are not available now. I also had a look at some old sails that have come into my possession. These were probably made before 1914 for a 42 Linear rater or 15-rater. The quality of the workmanship is exquisite, with minute machine stitching backed up by some very high quality hand work. (Photo 1) The reinforcement patches, which have curved edges are not machine stitched to the sail but slip stitched by hand and large areas of the bound edges are reinforced by very small, very neat blanket stitches. There is no way that I can match these standards; my own work using the same basic techniques is crude if serviceable. (Photo 2) It also costs me time sweat and tears. So this article starts afresh from where we are now and makes five assumptions. (i) Most readers will want to make only MODEL BOATS one suit, and will want to get a workable result first time.; (ii) We want it to look right; but (iii) We have to use the materials that are available now; and (iv) Most of us aren’t dab hands with the pins and sewing machine; Finally (v) We don’t mind using more modern materials where these give a better or more easily achieved result without spoiling the period appearance. So this method is intended for a non-expert reader who wants a ‘quick and dirty’ solution to some of the problems I have faced in making cotton sails the traditional way. I think it is perfectly adequate for sails of the size we are dealing with here, but I make no promises of satisfactory results in larger sizes. Materials Union Silk, which was the preferred sailcloth for models from 1885 ’til the introduction of varnished terylene in the early 1950s, was a very fine quality, tightly woven Egyptian cotton. The last mill in Alexandria that made it closed down several years ago and apart from caches that have been found in odd places, it is unobtainable. WEB Model Engineering of Poole import an Egyptian cotton of somewhat similar Stretch All fabric is made up of threads woven together. All the materials used for thread stretch to some extent and all woven materials stretch through the deformation of the grid of warp and woof threads. This is true even of the most modern Kevlar sailcloths and mylar films, though the stretch is far less than in anything else. Woven fabric stretches differentially, depending on the angle of the stress to the weaving grid. Sails depend for their efficiency on their aerofoil shape and a sail that stretches will become ineffective. Stretch can be controlled by cutting the sail so that the leach, which bears the greatest stresses from the wind, is in the line of the selvedge of the material, and thus of the warp threads of the fabric. This means that the other edges all lie at unfortunate angles to the warp and are at risk of uncontrolled stretch. The traditional way of controlling this stretch was a binding of linen tape folded over the edges of the sail. Linen tape of the appropriate width is no longer made and it now comes in only one size, half inch, which is used by bookbinders. This is not wide enough to fold over the edge and take the eyelets, etc. that have to go into the sail. One possibility is to cut a strip of your sailcloth (in the direction of the selvedge) mark out the sails from stiff paper patterns. Brown paper is ideal for this; if you have to use old supplies the original condition can be restored with a hot iron. There are no hemming allowances to make. Use a sharp but soft pencil for this. The luff and gaff edges are cut straight, as is the luff of the jib. In sails of this size, there is no point in trying to cut flow into the sails. The leach and foot of each sail is cut in a slight fair curve; don’t overdo this on the leaches, as cotton will not support a roach the way modern materials do. Paint the marked edges with dope. You will find that you get a saturated area up to %in. wide, so arrange for most of this to be outside the cutting line; you only need Yin. or so to do the trick. Hang the cloth up for the dope to dry and then cut out the sails. (Photo 3) To strengthen the cut edges that are going to be laced to spars we use fabric backed sticky tape in place of linen tape; for sails of this size, tape on one side only of the ‘bound’ edges is enough. Lay this on so that there is about in. or *4,in. of the tape on the sail, then carefully trim back the surplus tape. On the other side of the sail, place strengthening patches of tape on all corners, to give something for the eyelets to bite on. (Photo 4) — 11 AILS characteristics, but it is far too heavy to use on a boat the size of Jenny. The best material to use is ‘down proof cambric’, a fine cotton with a waxed finish, which is used to stop the feathers coming out of cushions. A good furnishing fabric store will have it. Cotton fabrics shrink when exposed to water. Sails are going to get wet and the fabric must be pre-shrunk, but without destroying the wax treatment that helps to keep the sails airtight. Rinse the sailcloth in hand-warm water with a very small amount of detergent, rinse clean, and iron damp with a cool iron. Use only enough heat and enough pressure to get the wrinkles out. JULY 1989 Russell Potts shows you how to make Jenny’s sails and use this as tape. There is a piece visible in one of the photos. Another, less satisfactory, alternative is to put a good firm hem on the edges in question; in the event I didn’t use either of these techniques, as I wanted to avoid pins and sewing if I could. No Hemming The basic concept is that the raw edges of the sail are not hemmed at all. The threads that would otherwise fray out are retained by painting the edges of the sail with clear cellulose dope, thinned about 50/50. Spread the cloth out flat, but not stretched, on a smooth hard surface and Eyelets The eyelets I have used are very small and come with appropriate sizes washers from Graham Bantock, who also does a small eyelet punch to suit them, though you can manage perfectly well with a centre punch, followed by a ball ended punch and then by a plain hammer, though it takes longer. It does help if you have a small leather punch to make an appropriate size hole through the fabric and tape. (Photo 5) For the small number of attachment points and on small sails like these you could get away with simply sewing the end of the cards into the edge of the sails as shown (on a scrap piece) in photo 6. DOUBLE BILL Lacing The sails are attached to the mast and gaff by lacings. The mast lacing needs to be spiral (Photo 7), that on the gaff can be spiral or in a half hitch form (Photo 8). These lacings are made by sewing through the reinforced edges of the sail with a needle large enough to take a light cord. By the time you have got the needle and cord through the fabric you will havea hole large enough for the cord to be worked through to get the right tension in the lacing. The gaff lacing can be made off permanently, but it will probably be worth making the mast lacing adjustable, so that you can play with the set of the sail. For the same reason, I would be inclined to have proper gaff jaws and a throat halyard, rather than the fixed gooseneck fitting that Douglas has indicated because the set of the sail is very sensitive to small changes in the luff tension. Battens Douglas makes no provision for battens, and on a sail as small as this they probably are more trouble than they are worth. In classic practice the pockets were made from in. linen tape and the battens from split and planed bamboo. This is 42 much too heavy for Jenny. I would be inclined to use slips of the fabric backed tape, either on its own, or possibly with a very thin piece of celluloid or plastic card under the tape. Polythene Those of you who want an even quicker, but less authentic suit of sails might like to try a similar technique using polythene sheet as the sail material. Photo 9 shows a suit for a very small yacht made from a black rubbish bag and bound with masking tape. The system works well provided the sails are not too big. MODEL BOATS ‘i we isa C c re = = on ey” : Et Saas @LI= = 3 ie 3/16″balsa 2 3/16″balsa ll 7 5/ JENNY IGNED BY DOUGLAS MC GHEE See @ “MAST —TM — i BOOM 7 ye 300M ea ee —|_ JO | eg ——=——k———E—EEaaEs = GA —— 4 a 3/16″balsa 2 ~ 3 == == ~~ Inner keel 3/16″balsao —~» ss << —-~ L4 : Nees P|, _ ee Se ee 1/8 "dowe| (lollypop sticks) a3 l & | — Keel sides 1/8" obechi ——” — l | 9/ ly l , [| an ee ees eee ee ee ee SS eee = 5/16"x7/16" ee =e| _ se OF as: BOWSPRIT ea 6 5 * 2 7 Se Se = eS Two inner doublers 3/16"balsa a MODEL BOATS November KEEL ASSEMBLY J 3/16"balsa 3 3/16"balsa 88 ~JENNY Hole for sail arm assembly Sin Sail arm (brass) Solder » 3/16" balsa ——=_{-- _ a = Zee Secure to “ot SAIL ARM = ‘ | a = If the two square tubes are a slide fit, the sail arm can be removed SS ea Tiller arm RUDDER DETAIL Peak halyard “SS> Rudder tube Bend sails to points marked Folded TM aL 1 = Pivot Half rudder template \ pin ~al Pivot plate let into keel olded rudder ae Gaff “yn | Rudder stock % before lifting the hatch as 1/16″ply : = servo disc LY 1 k al 7] Jib ee inked screw eyes |\ x ty for goosenecks zSh rouds Forestay Main boom S ervo |reer arm | re Jib sheet X RIGGING !x AA< eos aN gas = Sib boom seek E x Math shea 2 Points marked "Y" are J opened screw eyes es SS Thin brass a os a = 13)" 1/4"x1/8" planking z n 91 S " 4 Keel filled with lead shot o. 2 3 *. Filler 33" SECTION AT FRAME 4 a SAIL PLAN ia {Iu
