As far as any small boat can be watertight, Shearwater is now watertight….
Next task: repairing our new mainsail, which has been damaged by an enterprising rat. He, or she, gnawed three almost perfectly circular holes in the lower fabric. I suppose that is one interpretation of the nautical phrase – shortening sail.
Our last voyage in the Bay was long ago (around 2007). Almost time to get out the beach rollers, and return Shearwater to her native element.
Tomioka Tessai (1836 – 1924)
Two woodblock prints from: Four Seasons of Flowers 1907
I have already glued four Lute Ribs edge to edge, and to their shared point of contact: the neck-block (temporarily attached to the mould).
Here I am fitting Lute Rib number three on the treble side.
Sam has photographed the various tasks as they arise: shaping the rough-cut Rib on a Bending Iron (so that it lies snugly against all points of contact along the curves of the mould); removing excess wood by means of an upside-down Block Plane – and fine-tuning both edges on the absolutely flat surface of the Emery board.
It is an absorbing and frustrating and satisfying process….
As you can see below, Shearwater has two areas of dry rot along the top edge of the transom.
I admit to purchasing the Hishika Azebiki Saw primarily for its looks – but already it a has become a necessary luxury, as I knew it would.
These excellent saws with their curved blade can begin a cut in the middle of a flat surface….hence their traditional use in Japan for inlay work, butterfly joints, and (for all I know ) – boat-building.
Starboard gunwale installed.
A few coats of marine-quality paint will complete that project, and then….on to the Transom.