Beautiful Boat Crafts: Decorating Ideas and Projects for OnBoard 088179192X, 9780881791921

Citation preview

Beautiful

BOAT CRAFTS

BOAT CRAFTS Decorating Ideas and Projects for OnBoard

Linda Buckingham

Published by Hartley P.O.

& Marks

Publishers Inc.

3661 West Broadway

Box 147

Point Roberts,

WA

Vancouver,

Text

BC

V6R2B8

98281

© 2000 Linda

Buckingham

All rights reserved. in brief reviews, no part of this book may be reproduced in any form any means, electronic or mechanical, including photocopying, recording, or by any information storage and retrieval system,

Except or by

without the written permission of the publisher.

LIBRARY OF CONGRESS CATALOGING-IN-PUBLICATION DATA Buckingham, Linda. Beautiful boat crafts p.

:

50 projects lor onboard

/

Linda Buckingham,

cm.

ISBN 0-881 79- 192-x 1.

Handicraft.

2. Interior

decoration.

boating—-Equipment and supplies.

I.

3.

Yachts

— Furniture, equipment, etc.

4.

Boats and

Title.

TT157.B794 2001 745.5 -dc 21

00-047145

by Edward R. Turner Cover Design by Diane McIntosh Book Design by John McKercher Photographs by Ken Mayer of Studios Additional Photographs by Linda Buckingham Set in Cochin Illustrations

KM

Printed in

Note

to the

Hong Kong

Reader

As with any endeavor, when you embark on any of these projects, such as painting or stenciling, take the proper health precautions. To protect yourself from chemicals, including paints, wear a

mask and safety goggles. This is especially important when using sprays. Be particularly careful when cutting with an X-acto® or utility knife. Make sure your fingers stay well clear of the cutting path. Use gloves when handling chemicals and paints. Neither the author nor the publisher can take legal or medical responsibility tor persons using

this

book.

To

my favorite shipmates —

Kirk Savage,

Dana Savage,

Lynda Todd and Greg Deacon — ior sharing the journey

5

Contents Introduction

11

STATEROOM 1

.

2.

Lap Desk/Tray Table

1

Embroidered Seashell Border

3. Sail

A

Past Stencil and Stitch

T7

Wort) About Stenciling

Monogrammed Mirror

5.

Pretty Posies Vase

6.

High Art

7.

Mirror, Mirror, on the Wall

for the

HEAD

33

37

High Seas

Unstenciled Stencil Porthole

9.

Scented Seashell Potpourri

0.

Simply Elegant

.

Sea Soap

A1

A5

49

8.

1 1

19

23

A.

12.

1

13

Wash

Basin

63

Seashell Border Towels

67

51

55 59

13.

French Spiral Hitched Axe

14.

Head of the

Class

15.

Blind Pulls

83

16.

Magazine Rack

1

7.

79

87

Embroidered Cushion

GALLEY

91

95

18.

Rope Broom

25. 19.

Rope Handles

20.

Etched Drinking Glasses

21. Turk's

22.

75

97 101

Head Napkin Ring

103

107

“Etched” Glass Cabinet Doors Galley Floorcloth

115

24 The Midas Touch

119

.

25.

Faux Stained Glass

123

26.

Canvas Place Mats

127

27.

Mosaic Place Mats

131

28. Celtic Art

133

29. Stenciled Curtains

137

30.

Anchors Aweigh Napkins

31.

Cool Decorating

145

141

111

32.

SALOON

147

Lantern Lashing

149

33. Curtain Tiebacks

153

34.

Sandringham Border

35.

Underfoot

157

159

163

36. “Inlaid’ Coffee Table

37.

Posh Cushion

38.

A Class of Her Own

39.

Rope Art

165

171

40. Step/Storage

Box

DECKS 41.

167

175

177

Doorstop Button

179

42. Lover’s

Knot Rope Mat

43. Folding

Deck Table

44.

183

189

Decking Out the Deck Chairs

45. Bell

Lanyard

46. Bringing

195

New Life to the Old Buoy

47. What’s in a

Resources Sources

191

Name?

207 208

205

201

Acknowledgments

MARVEL AT THE PLEASURE working on

was due

in

this

book and then

had

in

realize

it

I

I

no small measure to the support

received Irom many.

The dedicated

My thanks go to

and

typesetter

Hartley

stall at

(Vic Marks, publisher;

book

1

don’t

& Marks Rocky

Wong) who work tirelessly to meet high a sense ol humor. editor,

all

pro-

the while maintaining

A special thanks goes to my

Knotting,

triends

and neighbors

saucers

in

the storage box-cum-step featured in our

main saloon. Barb Angel did several projects

book (the magazine rack, the rope

art,

and the chair cushion) and taught me how

Gail

came

input.

turned

my

who

crude drawings into wonderful

illustrations.

94.

gave

me

These

the tiny

little

treas-

Pat Shore,

who did the

blan-

polished the boat’s brass lor the photo shoot. It

seems that every time she came to the boat

brother,

I

put her to work.

sister,

Bill

Sandra Buckingham, and

my

Buckingham, who served as

sounding boards for

my ideas and ottered in-

valuable feedback.

My children, Kirk and Dana Savage, and my

husband, Greg Deacon. These are your

stories too.

Clark for invaluable advice and

illustrator,

shown on page

My mother,

to

inspirational ideas.

Ted Turner, the book’s

who

Korinek.

My

up with endless

me

ures were painted by her late mother, Ella

volunteered his time and talents to handcralt

the elongated Turk’s Head. Phyllis

Fancy

spent an afternoon giving

Daniela Korinek,

to visit,

tie

who

ot

evolved tying methods.

Spruce Harbour Marina. Fred generously

in this

make our

he managed to

ket stitching on the applique cushion and

Fred Jenkins, Barb Angel, and Phyllis

my

I

an overview of fancy knotting and his well-

Susan Juby, whose boundless enthu-

siasm couldn’t help but be contagious.

Davenport,

know how

David Fukuhara, the author

Ingram, production manager; and Yonnie

duction standards,

the book’s photographer.

boat look so big!

—

John McKercher, designer;

Ken Mayer,

Introduction

N 1982

MY family and

the sailboat Morning Star.

I

moved aboard

I

was anxious

turn our production boat into a

to

home and

I

When we

purchased our present home,

had been sadly neglected.

Innide Pannage, she

Her previous owner was a

boy who

prairie

scoured the bookstores and libraries tor

dreamed of the romance of living aboard and

books on

going to

interior decorating tor the boat.

I

sea.

Unfortunately, his wife did not

tound a tew books that showcased photo-

share the same dream, and in the three and

graphs

one half years they owned

did not

ot beautitul

yacht

the reader

tell

but they

interiors,

how

to achieve these

well-appointed good looks. The only "how-

books

to” boat level ot

I

tound required a certain

crattsmanship and a well-equipped

woodworking shop.

Now, years

later,

find myselt once again

And checking

living aboard.

No

projects.

in

Many

are small

For the landlubber they make exfor the

part-time sailor they are projects that can be

for the

hve-aboard

undertaken while harbor.

home

or aboard,

sailor they

at sea or

water tank! In short,

work, and

our port water tank,

The deck

can be

snugly nestled

in

it

seemed

all

fitting for

to the

systems

—

mechanical, electrical, plumbing, and heating

cellent gifts for seataring triends,

and

filled

didn’t

was not connected

sophisticated tools or level of

handcrafted with ease at

we

winch

some

steering

the water intake

dis-

book can be easily un-

craftsmanship are needed.

time

in tor

The hydraulic

surprises as well.

first

we were

have

I

book was tormed. in this

but

galley.

the intervening years on yacht decor; thus

dertaken.

ot her weaknesses,

water flooded the

covered that not much has been published

The projects

The survey revealed many

did live aboard.

the

and they never

out our local

library tor decorating inspiration,

the idea for this

thirteen hours on her engine

leaked, the anchor I

they put only

her,

— were

in

need of attention. But when

made my to-do

list

was

the priority

I

curtains.

my home, it had to look like one. Need I tellyou, my list looked much different from my husband’s? If this

was

to

This book that

makes

be

is

about the attention to

a boat shipshape

yachtsman pride

of

detail

and gives the

ownership.

OST staterooms seem 'small

a

bedroom

when compared

in a

can be big on

to

house, but they

style.

Our

cabin

boasts designer touches such as

custom bedding, embroidered towels, a

and

monogrammed

mirror

original artwork. Decorat-

ing details such as these can

transform

confining

quarters

into cozy, intimate ones.

PROJ ECT

1

Lap Desk/Tray Table

•

CT have had

work.

a lot ol lun with these laux inlaid projects because

JL they fool even the most seasoned woodworker.

be an so

is

but the beauty ol the finished piece

illusion,

your sense

inlaid,

but

—

Wooden tray table either solid wood or veneer will

of pride in fashioning

feels like

it

it.

The

is

inlay

very

may

real,

and

I

prefer a closed-grain

wood such

maple or

as

birch

(see Sources) •

The wood not only looks

Old Master’s Gel Stains (any gel stain will work but you must check the compatibility ofthe stain with the protective

as well.

clear coats)

When you

are living in

space can come table

and

its

cramped

quarters,

some extra desk •

in

handy. This

legs fold flat so

it

little

lap desk doubles as a tray

brushes •

can be easily stowed away.

An assortment of stencil in different

sizes

Semigloss oil-based spray varathane

Last Valentine’s

Day

I

forgot to

hastily put together a booklet of

The

gift

was meant more

Greg doesn’t

buy

a present for

coupons

Greg and

as a gesture than anything else since

actually like eating breakfast in bed.

while balancing breakfast precariously on his lap. To in

Semigloss varathane

•

400

•

Permanent

•

Stencil adhesive

•

X-acto® or

•

Freezer paper

(optional)

He complains

about the difficulty reading the paper and drinking coffee,

he cashed

•

for breakfast in bed.

all

the

my surprise,

grit

sandpaper felt

marker

utility knife

several coupons and that was before we even had our

15

fancy

new

table.

I

the tray and allow to dry' overnight.*The

collapsible tray

am

not taking

an^

wood wood

chances on having to cook

on Valentine

He

is

s

Day

this year.

.

sandpaper.

getting golf balls.

Appty»>aw coat of

stains are evenly absorbed.

Lightly sand the top of the tray with Fine

2.

^METHOD 1

conditioner helps to ensure that

Read

3.

wood

26-31)

conditioner toytttH^well-

sanded wood surface

instructions on stenciling (pages

Cut a piece

4.

your tray

of

of freezer

top.

paper the

size of

Draw or trace your design

onto the shiny side of the freezer paper

and

paper toypur wood surface

affix the

using stencil adhesive.

Using an X-acto® knife or

4.

utility knife*/'

cut out your des ign one color at a time. ,

Apply enougB^bressure core the

^

F

wood

in

to deeply

order to add

to the illusion that the design

is

inlaid

—

sign '

Peel off the sections of the de-

5.

you wish

to stain,

color. Stencil these

with your

with gel

stain,

first

using a

dry brush stenciling technique. For more ty intense

*

'

color, allow the stain to

dry over-

night before adding another coat. Pro-

ceed to cutting and staining the next color in the

same manner, replacing

cut-

outs (to act as masks) where necessary '

6;

Once

the stain

has dried, add several

coats of semigloss varathane to the whole

being

sure- to let

each coat dry

before adding subsequent coats.

Make

sure to use spray varathane for at least

yOur

coat. If you

brush on your

coat of varathane

your

Do

first

as

not sand your

it is

your *

first

stains

may

First

run.

coat of varathane

easy to accidentally sand through

stains,

but do sand lightly after sub-

^sequent coats with very

fine

sandpaper.

Lap Dedk/Tray

P

Table

17

PROJECT

2

Embroidered Seashell Border

CT AM THE JL

we

first to admit that

skills fall into

needlework

the novice category.

One day alter

move aboard

Inside Passage

sold our house to

and were packing our belongings, claimed, "Dear! Dear!

up

as he picked

my

I

my husband

found your sewing

a needle from the

ex-

kit!”

bottom of a

drawer. That should give you an indication of

my

Dressmaker’s tracing paper

Photocopy ofthe design

proficiency at needlecraft.

Dressmaker’s pins

The embroidered

projects in this

book are the Pencil

first

ones

I

have ever undertaken. The

realized about

good

first

thing

I

embroidery was that you need very

close range eyesight.

My glasses didn’t quite

Embroidery hoop Material (pillowcase, towel, face cloth)

Embroidery needle

do the

trick so

second thing

1

I

am now

realized

a long, long time.

sporting a

was

new

pair.

The

that embroidery takes

Each design

is

built stitch

Embroidery scissors Embroidery thread

by

19

STATEROOM

20

stitch.

I

found

very relaxing to

it

saloon and listen to stitched away.

my

these projects for a book,

band asked me around the boat,

was

I

the as

I

M ETH O D 1.

my

as you wish.

him with chores 2.

Iruu)e

Pcubage

I

used seashell

3.

and face

down on

the

Place the photocopied design on top of the tracing paper (right side up), position

motifs as embroidery patterns for pillowcases, towels,

Place the tracing paper face fabric to be embroidered.

“Sorry, sweetheart, I’m working.”

Aboard

seashell design

the size of the designs on the photocopier

hus-

able to politely reply,

Photocopy your chosen

from the book. You can enlarge or reduce

was doing

whenever

to help I

CDs

favorite

And, because

sit in

in place,

cloths.

and secure with dressmaker’s

pins. 4.

Transfer the design onto the fabric by tracing around the outlines of the shells

and pressing down heavily with your pencil.

Embroidered Seas bell Bore

5.

Remove

6.

Use an embroidery hoop

the paper design

and

tracing-

paper. to hold the fab-

ric taut for stitching. 7. Fill in

the design outlines using the satin

stitch as

shown

in

Figure

1.

For the

scal-

lop shell border on the pillowcase the

embroidery thread

I

used was

DMC #25.

This can be done with a single or double strand. For the towel

used

and face

DMC #8 single strand.

cloth,

I

21

A Word About Stenciling

A Word About Stenciling You

will find that

book involve

many of

stenciling.

the projects in this

As an

art form, sten-

ciling lends itself well to the confines of a

boat

in that

requires no special mechanical

it

or electrical considerations. versatile craft in that

number

of

ways

On our boat

and

Stenciling

is

it

to

stencil

decorate wood,

the art of applying paint or in a stencil.

a thin template that can be

is

from a variety

of materials

use a good qualit^^rhner that offers flexibility

and good adhesiqti

for

your

stenciling

projects.

*4 Palette You

will

need a

A

flat

spread your paint.

surface on which to

use a specially

I

made

you can make do with a

cookie sheet or a piece of freezer paper taped to a flat surface.

made

such as Mylar,

cardboard, metal, or paper into which a design has been cut.

and constant motion,

jected to high humidity

paint palette, but

fabric.

through an opening

stains

any

in

about any surface.

to just

widely available. Because boats are sub-

also a very

can be applied

have used

I

glass, plastic,

it

It is

27

There are two basic meth-

*4 Spreading Tool You will need a broad thin layer of paint on

spatula for spreading a

your

palette.

ods for applying paints or stains: roller stenciling

and brush

method lends

stenciling.

itself to fast,

Stenciling with a brush for stenciling

is

The

roller

even coverage.

more appropriate

«4 Paper Towels Use paper towels or an old

load excess paint from your brush or

£4 Stencil Adhesive This

Roller Stenciling Tools and Materials

is

low-tack

a

flexible stencil material so that

variety of paints are suitable for roller

good quality

Make

sure

you have adequate

ventilation

when you

household latex paint. Craft acrylic paints

this product. Note: It

work

important to

well too, but because they dry very is

a good idea to add about

20%

minutes

extender slows the drying time of the paint

placing the

and prevents a buildup

paper

your roller and

of

dried paint on

stencil. Craft acrylics

come

an endless variety of colors, can be purin small quantities,

and are

in

let

before

is

the

glue dry for a few

extender to the paint for large projects. The

chased

it

lies

glue

securely

against the surface to be stenciled.

stenciling onboard, including

it

repositionable

sprayed on the back of freezer paper or other

Paint

quickly,

roller.

small cutouts and for con-

trolled shading.

A

teriy towel to off-

use

28

S

TAT E RO O M or Mylar on the object to be stenciled. If you find the object

is still

a bit sticky from the ad-

hesive afteryou remove the freezer paper or

Mylar,

let

the stenciling dry for a few days,

then moisten a clean rag with paint thinner

and very

lightly

rub the surface. This

will

remove any lingering tackiness from the spray glue.

v£ Freezer Paper Freezer paper, or butcher’s paper as

known,

is

a

brown

it is

also

or white paper coated on

one side with a thin film

of plastic.

treated (or dull) side of the paper

is

The unsprayed

with adhesive and the treated (or shiny) side of the

paper

is

used for stenciling. Freezer

paper makes a good

stencil

because

it

easy to cut using an X-acto® knife or utility knife

comes

(with snap-off blades).ilt

in large rolls

and

market or butcher shop.

3$ Stenciling Rollers will

sity

foam

need a high denroller.

Soft

foam

or nap rollers hold too

much it

paint

and make

difficult to get a

clean print.

readily!

any super-

available at almost

You

is

is

A

Wore) About Stenciling

Roller Stenciling Technique j&Stepi Squirt a dollop ot paint onto one end ofyour palette.

&Step2 Use your spreading

tool to

draw out

a long,

him of paint.

thin

SiStepj Start with a dry roller

roll

it

through the

length oi your drawn-out paint.

lull

whole roll

and

roller

your

should be lightly loaded.

roller

The

Now

back and iorth vigorously

several times (without picking

up additional

paint) to evenly distribute the paint.

&Step4 This

is

the most important step, so be carelul

here. Roll

your

roller

back and iorth several

times on a paper towel or old terry towel to

remove excess at

how

little

paint.

paint

You

method.

be surprised

you need.

whether with a brush or a “no paint

will

Ii

Stenciling,

roller, is

almost a

you run your

over your hand you will see very

little

roller

paint.

&Step5 Before stenciling your image, practice on a sheet of scrap paper. Ifyou don’t have a stencil

to practice with,

make one by cutting any

simple shape out oi the center oi a piece oi freezer paper.

Spray the

stencil lightly

back (the matte side) with allow

it

to

on the

stencil adhesive,

dry for a few minutes, then press

the stencil onto paper.

Run

the roller back

29

STATEROOM

30

and forth across the whole lightly at for

first.

stencil,

pressing

Build up the paint gradually

more depth of color. Hint:

roller

Roll

it

is

You may

Pour a dollop

find the paint

drying and starting to

lightly

on your

(Figure

1

of paint

onto your palette

).

feel sticky.

back and forth over a damp

kitchen sponge to “revive” the paint.

work your

Brush Stenciling Technique

back and

roller

palette without picking

forth

up more

Then

on the

paint.

Hint: Prevent your roller from drying out

when you

take a break by putting

it

into a

small Ziplock® bag.

Brush Stenciling There are two ways to swirling technique

stencil using a brush: a

and a stippling technique.

To use the swirling technique, rub your paint through the opening in the cular motion.

To use the

apply the paint

stencil using a cir-

stippling technique,

Using a circular motion, work the paint well into your brush (Figure 2

and

3).

by “pouncing” or dabbing

your brush up and down.

Tools and Materials Stenciling Brushes

Choose good quality sure the bristles are

packed.

If

stencil brushes.

soft,

supple,

they are too

stiff

Make

and densely

you won’t

achieve the smooth, even buildup of color that cil

in

is

the hallmark of good stenciling. Sten-

brushes usually range diameter.

Use

in size

from

Va"

to 1"

large brushes to stencil

large openings, small brushes to stencil small

openings, and a combination of brush sizes for shading.

k?'

A

Wore) About Stenciling

If

31

paint bleeds under

much on your

have too

stencil brush),

you

your

stencil,

you

applicator (roller or

are applying too

much

pressure on your applicator, or the applicator

is

too

damp (make

sure to always begin

stenciling with a dry brush or roller). If your

Then, again using a circular motion, remove the excess paint

on a paper towel (Figure 4 ).

prints are too famt, the applicator

have enough paint or you too

Ifyou pass your brush quickly over the palm of your hand,

it

should seem quite dry (Fig-

ure 5).

Secure your er’s

stencil in place

tape or stencil adhesive.

with paint-

Hold your

brush perpendicular to your work and use either a circular or stippling

motion

to

apply

the paint. Build up the color gradually to

achieve even blending.

little

pressure.

may be

may

not

applying

PROJECT

4

Monogrammed Mirror

T

he mirror

in

our forward cabin was

personalized using Delta’s

adhesive stencils. The positioned

monogram

on the base

painter’s tape

Monogram

was used

ol

the

self-

stencils

were

mirror,

and

to define the

’

etched”

border. The rounded corners of the border were

traced and cut in the painter’s tape using coins as the templates for the curves. See

page 35 for Delta’s

PermEnamel Glass

a decorative alphabet you can use to create your

Etching Paint

own monogram.

Freezer paper

Kit

Repositionable stencil spray

adhesive Stencil roller

X-acto® knife or Pa nter

tape

33

utility knife

STATEROOM

34

M ETHOD 1.

Clean the glass with glass cleaner,

rinse,

and dry thoroughly. 2.

Cut a piece

your

paper sized

to cover

Spray the matte side of the

glass.

paper with 3.

ol freezer

the ink

may

your markings because

all

bleed into the conditioner in

5.

4.

Remove

5.

Using the small sponge Irom the Etching

all

paper

Paint Kit, apply a coat ol the Perm-

Enamel surface conditioner through

stencil ad-

hesive on the matte side. Place shiny side

openings

up. Spray stencil adhesive to the back of

tioner with a hairdryer.

your photocopy and position

it

over the

freezer paper.

Use an X-acto® or

knife

out

to

cut

the

design,

utility

cutting

through both the photocopy and the freezer paper. design,

Cut out the

making sure

to cut

along the outside edge of your markings

you

traced

the

design with a felt is

marker.

It

important

if

where you

the paper pieces

wish the etching to appear.

glass with the freezer

which has been sprayed with

away

step

stencil adhesive.

Enlarge your design using a photocopier.

Cover the

to cut

in

the design.

Diy

the

the condi-

7.

6.

Use a

stencil roller

and

roller stenciling

technique

(see

page 27)

apply a coat of Perm Enamel

White

to

Frost.

and

roll

stenciling

Dry

this

instructions

with a hairdryer

on additional coats

to achieve

the desired opaqueness. ally

I

usu-

apply two to three coats. Let

paint

the

tor ten

days

washing.

dry

before

Do

clean with abrasives.

not

harsh

Monogrammed Mirror

35

43

High Art for the High Scar

T

hid otencil dedign id adapted

print

from a 19th century

hy the famoud Japanese painter and wood

engraver Katduohika Hokiunu. Hokuoai produced a oeried

of block prin td known ad the thirty-dix Fuji,

vie wo

of Mount

and one of there wad the inopirationfor thid dtencil.

PROJECT

7

Mirror, Mirror, on the Wall

order tiles make J—S and

offer an interesting alternative to teak

mahogany

framing.

finished in teak

these

a distinctive mirror frame

woods

The

interiors of

and mahogany, and

are,

you

can’t find a

many boats are as beautiful as

they can be over-used. There

wide range of commercial border tile

and

is

a •

design that suits your boat or

Contact cement

•

Vi"

on the wall and that cause

it

corner.

corner

is

where

it is

The heads

of the

in

•

Notched

•

Tile

•

Sponge

is

each

screws are covered by the

slightly

width of the mirror and

going to stay be-

has been screwed to the bulkhead

plywood cut

smaller than the total the border

the seas get, this mirror

the bulk

6" border tiles and four

•

as for painting ceramics (see page 37).

No matter how rough

fit

comer tiles

stenciling instructions for painting tiles are the

same

Mirror (sized to

head space)

tiles available. If

budget, consider designing and painting your own.

The

•

tiles

tiling

trowel

adhesive

•

Drying cloth

•

Tiling grout

tiles.

45

STATEROOM

46

M ETHOD 1.

Lay out your mirror and place the border tiles

you 2.

4.

around

its

Use contact cement

marks

to glue

Use your

to position the mirror,

and

follow the manufacturer’s instructions on

up the border tiles with the perimeter

The border

slightly overlap the

and, using a pen-

trace the position of the mirror onto

pencil

size.

of the mirror.

tiles

the mirror onto the plywood.

slightly smaller than

Center the mirror on the plywood and line

the border

the plywood.

the Finished size olyour mirror.

your finished 3.

cil,

perimeter. This will give

Cut your plywood

Remove

tiles

should

the use of the contact cement. 5.

Use the

tiling

trowel to spread the

hesive onto the

tile

ad-

plywood border.

plywood.

PLYWOOD

Mirror, /Mirror, on the Wall

6.

Firmly press the the corners bare.

from the 7.

tiles

tiles into place,

Wipe

with a

leaving

damp

sponge.

Have one

person hold the mirror while another

screw holes lor the corners.

Spread adhesive onto the corners of the

plywood and press the corner

excess adhesive

Position the mirror on the wall.

pre-drills the

8.

47

place. 9.

Wipe

tiles

off the excess adhesive.

Wait 24 hours before applying the grout.

into

Make

sure

the

grout

tile

well

is

pressed into the cracks between the

tiles

Countersink the screw holes so the screw

(an old credit card can be used for this).

heads are Hush with the plywood.

Wipe away the sponge, and

let

excess grout with a

damp

dry several hours before

polishing with a soft cloth.

—

HEAD

T

he h e a d as the bathroom ,

aboard a boat

called,

is

usually pretty standard fare

—

a sink, a shower,

crammed

is

and a

into a tiny

ment. But adding a rative touch here

make

toilet all

compart-

little

deco-

and there can

this little cabin sparkle.

Embroidered poured

soaps,

towels,

and

hand-

custom

stenciling provide the finishing

touches

in

our head.

PROJECT

8

Unstenciled Stencil Porthole

(7 first wrote about

the

JL in Projection

The term

Stenciling.

unstenciled

stencil

refers to self-

adhesive frosted vinyl that has decorative openings cut into

it.

surfaces, Gail,

When the Irosted vinyl is applied to glass

it

gives

them an etched

look.

my neighbor in the marina, appreciated the

natural light provided boat, Mirth, but

by the ports aboard her

wished

lor

more privacy dockside.

The other morning, while making glanced up and

my

sail-

breakfast,

I

face broke into a broad grin.

/Mirth s ports boasted unstenciled stencils. Gail tells

Frosted

MacTac or

sign vinyl

'

me she ciling.

has received I

many compliments on

Photocopy of Sail Past design

her sten-

haven’t gotten around to telling her

really stenciling.

it

isn’t

Glass window or port Utility knife

Stencil adhesive

51

HEAD

52

METHOD 1.

Apply your

3.

frosted

clean,

MacTac

or sign vinyl to

2.

copy and the

cut out the

sail-

vinyl,

and remove the

cutouts.

utility

knite.

utility knife,

boats, cutting through both the photo-

dry glass surface. Cut gener-

ously and trim in place with your

Using your

A.

Once

all

the boats are cut out,

remove

Photocopy your design, apply reposition-

only the paper to reveal your “etched”

able spray adhesive to the back of the

port.

photocopy, and affix

your

port.

it

to the vinyl

on

*ous e*

*

^gyJj/M^Ikro

jfe^-

Lv^w Wv¥Wm1/'

ypt^

jm

—^

PROJ ECT

9

Scented Seashell Potpourri

collection of

X favorite essential play and

seashells lightly laced with oil

makes an

attractive visual dis-

provides an uplifting scent to

Do you

your

any cabin.

how a perfumed scent or a parmusic can affect your mood and even

ever notice

ticular strain of

transport you to a different time and place? Lavender

my choice of fragrance Well

known

for

its

for this project, for

ability to

is

two reasons.

calm frayed nerves, laven-

der seems a good choice to complement the laid-back attitude of boating

life. It

also reminds

days long ago on Cape Cod. While

me

of

summer

my husband and

Seashells I

Dish soap

were busy overseeing our charter business, the

chil-

dren were busy with an enterprise of their own. They filled

garbage bags with sea lavender cuttings and then

parceled these cuttings into bouquets to

sell

A

sealable jar

Scented

oil

Container for display

by the

55

HEAD

56

roadside. Sea lavender

was much

in

demand

by the cottage crowd on Cape Cod, and

many

families the

end of season

tor

home

as a reminder ot a

the sea. Kirk and

Dana had

1

.

was

ritual

not complete without a sprig of sea lavender to take

M ETHOD Wash the

and water. Allow them 2.

summer by

booming

seashells well with dish soap to

dry completely.

Place the shells in a sealed jar along with a

few drops

of essential

oil.

few weeks.

busi-

3.

Leave the

ness selling bundles ot lavender tor 50 cents

A.

Remove

the shells from the jar

them out

for display.

apiece. is

But should tellyou that sea lavender 1

not a true lavender.

grows

a

in

England.

It is

a

marsh plant

protected estuaries around It

New

has a tiny purple tlower that

comes in bloom at the end of the stays in

that

bloom

summer and

like a dried flower. It

does not

have the wonderful fragrance of lavender, but

if

someone were

had aboard,

I

me what scent we

might be tempted to say

lavender” because

romantic!

to ask

it

“sea

sounds so much more

5.

Once

shells in the jar for a

and

set

the shells start to lose their scent,

they can be returned to the jar for reactivation with another dose of scented

oil.

7

Seen tec) Secuhell Potpourri

57

&ven //°u

m

^tk,

.

it 4/

*^

Cr“i

^H

a

n

^Pl

aUt

'^^nZ

y**«*#'

l

epia, 2

A'vaPpoi

o,//

Uect

e "aS

t0

'"«>cr„l

,

s

/

y"*«*

Dannad ,

u‘-hpl

lw „,

'ci;a

o'

^my r/ v

.

'^V-

,

'

'

,

7/,/ '

•

/-’ 0’'J'°y/ 4«tf n

°ttA vat ^a ****** "**&&*#} :

^ketd

beak no

orni

"ea

^e/L,,A

CVc>L

‘^Sa„

i

^e//.,

"^'fwau

de

Cr"

“ ‘Sti ,

4 ‘

/

£a/& s*,

r

'>te()

«-ui,'

:

'

Un,nt ’«iua,- I

It

’

lnu

'

'out

’""“rfUuk kSc

^Ulc)

’Oj c boat ). an Sal o/n VPedf,r oado. ixe o/ter °'»tk c Cr Par/Ul f/7c ““eok Ppao,,en V{p[ OOl/lo 4finer. ai ’etk P°o()/. J, -o 7°op tuck U nek/

a/y.

t

’,

4/p ck/a

been.

St^r

,

PRO) ECT

1

O

Simply Elegant Wash Basin

(“A SCHOOL

of tiny fish draws attention to the

^ X understated

beauty of

this

hand-turned

ceramic basin. This stenciled border

is

simple,

yet striking, and surprisingly durable and easy to

paint.

Other ideas

for nautical

borders

could include a ring of starfish, seashells, rope or anchors.

•

Delta’s

PermEnamel

Ultra

White Paint •

Delta’s

PermEnamel

conditioner •

Delta's Clear Gloss glaze

•

Freezer paper

•

Stencil adhesive

•

X-acto® or

utility knife

59

HEAD

60

M ETHOD 1.

Clean the sink surface with soapy water,

3.

shiny side of the freezer paper and follow the outline of

your design with your

Brush on PermEnamel conditioner and

ting knife to

produce a

let dry.

the small dots as a

rinse, 2.

Position the sprayed photocopy over the

and

let

dry.

Using an X-acto® or stencil

utility knife,

from freezer paper using the de-

sign in this book, or a design of your

The

cut a

easiest

way

to cut the stencil

photocopy the design and apply

own. is

to

stencil

adhesive to the back of the photocopy.

monds

stencil.

I

cut-

cut out

diamond because

dia-

are easier to cut than dots.

clipped the top and bottom edges of stencil so

it

I

my

would follow the contours

of

the sink and adhere snugly to the ceramic

surface of the sink.

Simply Elegant Wash Basin

A. Stencil

no paint bleeds under the ends

of

layers of paint.

the fish around the rim ot the sink.

Use a dry brush technique

your brush

and then wipe

paper towel. Your

have very

little

stencil

paint on

it.

on a

brush should Build up the

desired opacity by adding

5.

many

thin

in

your

stencil as a

guide for

Topcoat with Clear Gloss glaze before repositioning the stencil.

your brush

off the excess paint

hair dryer to speed

placing the dots.

then

use a circular motion on a paint palette to distribute the paint evenly in

diamond

Dip the

bristles in paint,

Use a

up the drying process. Use the cutout

to ensure that

stencil.

61

6.

Let the paint cure for ten days before

washing

(the sink, that is!).

PROJECT

11

Sea Soap

CT can’t help

but be amused

when

JL dainty shell-shaped guest soaps.

from

look at these

What

a contrast

my cruising days when washing up meant leap-

ing overboard and sudsing

am

I

sure

cause

it

up with Joy detergent!

Joy detergent makes lathers

up

a better sea soap (be-

in cold sea water),

are dockside a bottle ol

Joy

same cachet as these

gems.

little

These soaps are so easy

more accurate

to call this

to

but

just doesn’t

make,

it

is

have the

is left

Delta Soap Creations Creamy Coconut Oil Soap Block or Delta Soap Creations Moisturizing Glycerin Soap Block

•

Microwave oven

•

Glass measuring cup (heat-

probably

resistant)

soap pouring than soap

uid soap into molds to cool.

•

when you

making. Simply melt the soap block and pour the

which

I

The

ot the

3D

lip,

molds

meet, can be easily shaved olf with a paring knile.

3D

shell mold and Soap Creations Starfish and Shell Kit

Delta’s Delta’s

liq-

slightly raised

where the two halves

•

•

Paring knife

•

Wooden spoon

•

Fragrance (optional)

or dowel

63

1.

Uut

soap

the

approximately 2.

block 1"

pieces

into

square.

Place a tew squares in the measuring

cup and melt o^ high

in the

wave

It

tor 15 seconds.

micro-

soap

is

not

completely melted, continue heating in

5-seconds increments until the

soap 3.

is

liquid.

Do

Allow the soap to

not overheat.

to cool until

it

begins

torm a thin skin on top. Use a

wooden spoon aside.

add

it

spoon.

It

push

to

you wish

to

now and mix

A

little

skin

add tragrance^

with the wooden

tragrance goes a long

way; so err on the side tirst

this

ot too little the

time you add scent to your soap.

A.

Pour the mixture

5.

Let the soap cool completely (this

may

into the molds.

take anywhere trom 30 minutes

to 2 hours) betore

the mold.

removing

it

from

PROJECT

12

Seashdl Border Towels

C

ustomizing your ing

them

your guests it

will

towels by embroider-

ensure one of two things:

will not steal

would be too obvious

them Irom your

boat; or,

your towels, because that they

had taken

your guests

your towels, because they had such aboard they want souvenirs

will steal

a great trip

of the cruise.

•

Towels

•

Embroidery thread

•

Embroidery scissors

•

Embroidery hoop

•

Embroidery needle

•

Dressmaker’s tracing paper

•

Photocopy of design

67

(DMC

#8)

HEAD

68

M ETHOD 1.

5.

Photocopy your chosen

seashell design

from the book. You can enlarge or reduce the size of the designs on the photocopier if

2.

3.

you wish.

Place the tracing paper face

6.

paper.

Use an embroidery hoop

the

to hold the fab-

ric t^ut for stitching. Fill in

down on

the paper design and tracing

the design outlines using the satin

stitch as

shown on page

21.

For the

scal-

fabric to be embroidered.

lop shell border on the pillowcase the em-

Place the photocopied design on top of

broidery thread

the tracing paper right side up, position

This can be done single stranded or

in place,

and secure with dressmaker’s

pins. 4.

7.

Remove

Transfer the design onto the fabric by tracing around the outlines of the shells

and pressing down heavily with your pencil.

I

used was

DMC

#25.

double. For the towel and face cloth,

used

DMC #8 single strand.

I

A chocolate placed on a pillow, a bedside bouquet, a tiny gue^tjoap all / Ar

AZ

129

'7^> // 'At

yfZ

•

\A >X ^ >X A

X :A

/.

/y //

v^-'yo

ill WA/, : '/,.

\

V

v A^.

V

yS

^ y

X^

J wftlS Wmk

vx

/A 'X

>x // /(

/

I

Aa A

//

^/y/^y

y/

/y

V\

V S\

X

/. y/

/v^ ifeSlii

WmrA

mmm WmB J*k

mm. APmwv,

mmmm

PROJECT 27

Mosaic Place Mats

(T\ eminiscent

of earlier times, these black and

JL V.white mosaic place mats are right at

home

in

Inside Passage's galley which features a white enameled

vintage-style diesel stove.

M ETH O D 1

.

See steps

1

and 2

in Project 26,

2.

Basecoat the place mats with light gray paint.

3.

Use a sea sponge

to apply speckles ol black

and

white paint. A.

While the speckles are

still

wet, diffuse them with a

stencil roller. 5.

Use Buckingham the mosaic

6.

•

#10 weight canvas

•

White primer or gesso

•

Stencil adhesive

•

Stencil rollers

•

Urethane or varnish

Canvas Place Mats.

•

Paint roller or brush

•

White, black, and gray paint

•

Stencils’

mosaic

stencil to paint •

tiles.

Follow steps 9 through

1 1

of Canvas Place

Mats

Buckingham

Stencils’

stencil

All-purpose glue

to

complete your mats. 131

mosaic

PROJ ECT 28

Celtic

T

Art

he celts were masters of fancy rope work and

left

us a beautiful legacy of designs.

Religious restraints prevented Celtic artists

from depicting any hie lorm state, so

in its

realistic

animals and humans were shown

in a

highly stylized manner. Incorporating fancy

knots into their work, the Celts depicted

men

with interlaced limbs and beards, and animals

•

Photocopy ofthe

•

A

•

Freezer paper

•

Stencil adhesive

•

with interwoven ears,

tails,

and tongues.

line

drawing

stretched artist’s canvas

Paint (acrylic craft paint

or house paint in color of

your choice) •

X-acto® or

•

Paint brush or roller

•

Permanent

utility

felt

knife

marker

(optional) •

Stencil brush

133

GALLEY

134

METHOD 1

.

2.

A.

Basecoatyour canvas with white

Cut a piece

of freezer

paper

to the size of

your canvas and spray the matte

3.

Cut out and remove light gold areas

paint.

cil

all

the cutouts for the

and save the

pieces. Sten-

these openings with light gold paint

using a dry brush stenciling technique.

side of

the paper with stencil adhesive.

will take several coats of paint to get

Use a photocopier or a

coverage.

light projector to

enlarge the line drawing to the appropriate size. If

you

felt

marker.

If you

use

a photocopier, spray the back side of the

photocopy with

stencil

adhesive

and

position over the freezer paper. Position

the paper over the canvas.

good

to use a hair-

dryer to speed up the drying process.

Once

use a light projector,

trace the pattern onto the freezer paper

with a permanent

You may wish

It

the paint

is

dry, reposition the light

gold cutouts. 5.

Cut out and remove the remaining outs and gold.

stencil

these

cut-

openings dark

Celtic Art

135

VMMMMMN

PROJ ECT 29

Stenciled Curtains

CJ didn’t realize

it

at the time,

but

I

think

JL stenciling career began with curtains. living

my

was

1

aboard our sailboat on the East Coast,

cruising with

my husband and

dren. During the

our young

chil-

summer months we topped up

our cruising kitty by offering our boat for charter

•

Pre-washed curtains

we found modest accom-

•

Cold

•

1" stencil

•

Mylar

•

Stencil adhesive

•

Paper towels

out of Cape Cod, and

modations for ourselves ashore.

Our accommo-

dations consisted of a makeshift apartment built in the rafters of

make

my

brother-in-law’s barn.

these surroundings homey,

tains for

our windows,

closets,

I

To

stenciled cur-

couldn’t beat our custom curtains for a touch of class.

When we moved aboard Injide Passage,

(

brush

•

Pattern

•

Cardboard (non-corrugated)

and cabinets. Our

apartment may have been humble, but you

acrylic paint

•

Fabric

medium

(available at

craft stores) •

X-acto® or

utility knife

her

137

GALLEY

138

3.

windows were covered with Venetian I

Cut out the

blinds.

found these very cold and uninviting, so

these

were soon replaced with the

sonal

charm of stenciled

or utility knife.

curtains.

cil

METHOD sive,

and allow the adhesive

to

fabric to be stenciled. This

will

prevent

"fabric

stencil 5.

sandwich. ” The fabric

is

and the cardboard.

Add about 15%

fabric

medium

to

your

paint. This will help the paint penetrate

the fibers of the material.

it.

line

drawing using

ther a photocopier or a light projector.

you use a

a

You should now have what we

securely sandwiched between the Mylar

moving when you are

Enlarge the Celtic

light

ei-

If

trace 3'our

projector,

graphics directly onto your Mylar for cutting. If you use a photocopier for enlarging, spray the stencil

Position the stencil on the fabric to be

call

under the

it

stenciling

adhe-

dry for a

tew minutes before laying

the fabric from

2.

stencil

you have not already

adhesive, do so at this point.

stenciled.

Spray the cardboard with

If

sharp X-acto®

sprayed the back of the Mylar with sten-

soft per-

A.

1.

stencil using a

back

of the

adhesive and place

it

Mylar with

on top

pattern on your cutting surface.

of the

6 Dip your stencil brush into the paint and .

work

the paint well into the brush. Off-

load excess paint on a paper towel. stenciling

load as walls,

on

fabric you don’t

much

butyou

don’t have too

or

it

will bleed

When

need to

off-

paint as for stenciling on still

need to make sure you

much

paint in your brush

under the

stencil. Practice

Stenciled Curtain,

on a piece ing

your

of scrap fabric before stencil-

Use a

curtain.

stippling

(i.e.,

pouncing) motion to apply your paint

through the 7.

Remove

stencil.

the stencil and

and cure

for at least

let

the paint dry

two weeks before

washing. Heat set the paint by ironing on the reverse side of the fabric. 8.

Hand wash

in cold

water when needed.

PROJECT 30

Anchors Awtigh Napk ins

Cl had TO include JL because

I

an anchor design

have an anchoring story

Years ago,

my husband

I

in this

want to

at the time

and

book tell.

found

I

employment delivering yachts while we waited our

new

sailboat, /Morning Star, to be built.

with our two young children, est 30-foot sloop,

Cypramore

we sailed Big M,

for

Along a

mod-

from Fort Lauderdale, Florida

Point, Louisiana.

about three weeks and

to

The voyage took us

we sailed when winds allowed

and powered when they abated. The

last leg of the

•

•

by our

one-piston diesel.

Embroidery needle

•

Photocopy of design

a

•

Dressmaker’s tracing paper

sailboat looked

•

Embroidery hoop

The waterway was

hive of industrial traffic and our

little

(DMC

•

Waterway where we motored along propelled little

Embroidery thread #25)

journey was along the Alabama Mississippi Intracoastal

Napkins

decidedly out of place amongst huge tugs, barges,

Ml

GALLEY

142

and vessels servicing the offshore felt

especially embarrassed

chorages along at night

as far off the

anchor it

was always

which ran

Anchoring was

steadily

all

by commercial night.

sleep with one eye open.

M

safely to her

then set out

in

ter,

up,

We

traffic

learned to

We finally delivered

proud new owners, and

our rented car to find a motel

for a peaceful night’s rest.

the

difficult

a gamble between running hit

highway looking

As we drove along

for a motel,

my daugh-

who was four at the time, piped ” “Where are we anchoring tonight? Dana,

1

.

2.

Photocopy the anchor design. Place the tracing paper face

down on

a

corner of the napkin. 3.

Waterway

we would edge our little craft channel as we dared and drop

for the night.

METHOD

ridiculously

this section of the

aground or being

Big

to

Big ATs approach. There were no an-

named

as

when we had

radio and announce the

and

We

Management Areas over

report in to Traffic the

oil rigs.

Position the anchor design in place and

secure with a dressmaker’s pin. 4.

Trace the design onto the napkin.

5.

Remove

the pin

6.

Using a

satin stitch (see

and papers. page 21),

the anchor. Using the chain stitch

appropriate!)

shown

in

Figures

follow the line for the chain.

1

fill

in

(how and

2,

*\/ ou may wish ol the

design

in

to cut a stencil

anchor and

stencil

your

gold paint to use as a

pattern for your embroidery.

I

find

the clean edges ot a stenciled design easier to see

and follow than the

lines ol a traced design.

section

Refer to the

on stenciled curtains

for

instructions for stenciling on fabric.

PROJ ECT

31

Cool Decorating

hen looking

for design elements

lor decorating projects,

you

sometimes

don’t need to look further than

your

immediate surroundings. Check out your curtain fabric, upholstery, and decorative

accessories for design ideas. this fridge panel

was taken

The motif on directly

from

our galley floorcloth.

145

mm

mm

PART FIVE

s C~T T

is

H a R D to explain

how less

jLcan be more, but on a boat that

is

how

the boat

is

it

seems. Whether

a small day sailer or

a ninety-loot yacht, each oi

its

cabins becomes multifunctional

and

in the

process opens a multi-

tude oi decorating opportunities.

On

most boats the saloon

is

or even the only cabin

the

First

you

enter, so

forts here

your decorating

make

a big impact.

ef-

'm

rim {

I ill

II

"fir®

(1

II

1

lL

PROJECT 32

Lantern Lashing

T

he first time Greg and sage out lor a

thought neither

of

trial cruise,

to

it

took Inside Pas-

you would have

us had ever been to sea.

new

forgot to lash our beautiful

and

I

We

trawler lantern

bashed about the cabin, wildly threatening

jump

by, until

off its I

hook and

secured

twine did the

trick,

it

kill

any innocent passer-

with a piece of twine. The

but

it

was not nearly as

lcally pleasing as the lashing

esthet-

shown here which

boasts a Portuguese sennit and spiral sennit.

my husband

and

I

Had

been crew members aboard a

•

•

20' of fine nylon twine or cord

Brass

fitting

through which to

secure the lantern tall

ship in the

Age

of Sail,

it

wouldn't have been

just the lantern that received a lashing!

•

Maskingtape

•

Scissors

•

All-purpose white glue

149

SALOON

150

M ETH O D 1.

through the bight formed by

Cut two lengths of twine, one other

7',

and the

or longer if your lantern hangs

more than AVa" from it is

10'

the surface to

1).

Draw

standing cords.

which

being secured. Prevent the ends from

unraveling by taping them with masking tape.

For accurate calculations, the

whipping takes each ral).

1"

5" of

working twine

W of

of standing twine (or

The

spiral

for spi-

alternating hitches take 6" of

working twine

for each 1" of standing

twine. 2.

Secure your brass

fitting directly

below

the center of the bottom of the lantern. 3.

Thread the lengths of twine through the brass fitting until the center of each length rests on the fitting.

FIGURE

2

FIGURE

3

You now have

four working ends of twine of equal length.

Two of these will be your standing

cords and two will be your working cords. 4.

Draw A over the

standing ends to form a

bight (bend in the cord). Bring

B

over A,

behind the standing ends and then

down

A

(Figure

both ends securely over the

Lantern Lathing

5.

Repeat step A

until

your

spiral

whipping

touches the bottom of the lantern (Figure 2, 3, A).

Now take each of the

ing ends

6.

four work-

and drape them separately over

7.

ries

151

of alternating

of

the glue dries,

a se-

at

white all-purpose glue at

where the strands meet. Once

Work

itself in

meet

the top of the spiral hitching (Figure 5).

Apply a spot the spot

lantern and then back along

and right-hand

half hitches until all the strands

the four arms of the lantern.

each cord around the arm of the

left-

trim the

ends of the

strands.

LANTERN ARM

FIGURE

5

PROJECT 33

Curtain Tiebacks

O

riginally for

them,

I

I

wanted brass tiebacks

our curtains, but after pricing

changed

my

expensive, and to

mind. They are very

tell

you

the truth, they

don’t have the character and

charm

of

these hand-tied ones. Substituting time for

money,

using 2 I

1

tied flat

Portuguese sennits

mm rayon twine.

originally secured the tiebacks with

cup hooks, but have since replaced them with small brass knobs. far too

common

beauties.

Cup hooks

look •

to

be paired with these

13'

of 2

mm twine or cord per

tieback •

Masking tape or packing tape

•

Scissors

153

SALOON

154

3.

METHOD 1

.

Cut twine

Drape the longer cord outside the shorter into

two

2'

long pieces, and one

9 long piece. Burn the ends or tape them 1

so they don’t unravel. This

makes a

back that

is

you wish

a longer tieback, adjust

approximately

1'

tie^

long so

il

your

Find the centers of the two

short pieces ol

twine and hook them over a cup hook,

Hold

key hook, or something

similar.

four strands ol your

long pieces taut

and sandwiched

2'

the

closely side-by-side us-

ing a piece of masking tape or packing

tape to secure the loose ends. Tape these

ends to a small block of wood or any object that will 1 ).

(Figure

2).

hold the strands taut (Figure

Pass the

left-hand

strand under the secured cords and over the right-hand strand to form a bight.

Bring the right-hand strand across, over the secured cords

bight (Figure 3).

lengths accordingly. 2.

cords

and down through the

Draw

both ends tightly

over the secured cords, but not so tightly that the lour strands buckle each other.

Curtain Tiebackd

4.

Now

pass the right-hand strand under

the secured cords

6.

and over the left-hand

a spot of white all-purpose glue at

the junction of

all

the strands. This glue

Once

strand again making a bight. Bring the

will

left-hand strand across, over the secured

dry, trim the four short strands

cords and

down through

Draw

ure 4).

the bight (Fig-

both ends snugly around

7.

the last

need

the glue

with

is

scis-

Tie a reef knot

(left

strand over right,

strands and trim the ends with scissors

until the

secured cords are covered (Figure will

clear.

right strand over left) to secure the long

Repeat steps 3 and 4 alternately

You

dry hard and

sors.

the secured cords. 5.

Dab

155

to take off the tape to

(Figure 6).

5).

cover

8.

You can use cup hooks to secure your tiebacks

bit.

knob.

FIGURE

5

in place,

but

I

prefer a

little

brass

PROJ ECT 34

Sandringham Border

T

o achieve the Victorian “etched” border

on our

cils’

of

aft port

I

used Buckingham Sten-

Sandringham border. There are thousands

commercial

stencils available

from which

to

choose a border that complements your boat ’s decor.

Spray the back

of the stencil with stencil

adhesive and follow steps 5 through 7

in

“Etched” Glass Cabinet Doors (for pattern see

page 113).

157

craftL

‘V*

;

PROJECT 35

Underfoot

C

anvas floorcloths

are

the

ideal

substitute tor carpet runners aboard a

boat. Like carpets, they protect

heavy

traffic

areas, but unlike carpets, they don't retain

moisture and are a breeze to clean. Canvas floorcloths have other advantages as well.

•

White primer or gesso (if canvas isn’t primed)

•

Painter’s tape

Because they are handcut and handpainted, they can be designed to

scheme, design

style,

fit

into

or space.

Canvas, #10 weight or heavier

•

any color •

Measuring tape

•

White all-purpose glue

•

Stencil rollers

•

Artist’s

•

Green, burgundy, and metallic

brush

gold paint •

Urethane or varnish

•

Very fine sandpaper

159

"

SALOON

160

M ETH O D 1.

6.

Cut your canvas

to size, cutting off the

selvages in the process, and allowing a

margin around the outside of your cloth. This

margin

will later

the

wooden end

be lolded un-

into paint it

drywall.

A.

Basecoat the entire floorcloth using green paint.

Once

stencil the

if

and then dab on the floorcloth I

used double

be just as attrac-

tive. 7.

Prime the canvas

Use the

brush to dip

artist’s

dots, but single dots will

plywood, or

5. 3.

of an

to place dots.

through the square holes.

in

place by stapling, tacking, or duct-taping to a floor, tabletop, piece of

in the center of

make a template from

wherever you wish

floor-

Stretch the canvas taut and secure

it

floorcloth,

freezer paper with small square cutouts

1

der to create a hem. 2.

For the all-over dot design

After the stencil paint has dried, crease

along the

necessary.

1

"

margin, fold under, and miter

the corners (fold

them and cut them diag-

onally to eliminate bulk). Glue

the green paint has dried,

hem with white

burgundy and gold borders

down

the

all-purpose glue, then

using painter's tape to define the areas to

press firmly with a rolling pin or heavy

be stenciled.

bottle to flatten the

It

will take several coats of

paint to build the desired color intensity.

Use a commercial

own

stencil,

or cut out your

I

used Buckingham’s Sandring-

ham border

(see

Buckingham’s

page 00

Celestial

for border)

Gold

paint.

8.

Allow

the

9.

edges

to

dry

Protect your floorcloth with at least four

man-

and

coats of varnish or urethane (check

Use

ufacturer’s instructions for paint compatibility).

the gold border.

between

will take several coats

of paint to get rich-looking color.

hemmed

overnight before applying finish coats.

a dry brush stenciling method to paint It

evenly dis-

tribute the glue.

design to stencil a border on the bur-

gundy.

hem and

Allow adequate drying coats. Lightly

time

sand the floor-

cloth before applying the final coat.

Underfoot

10.

To

stop

the

around on the

floorcloth floor,

from

sliding

use strips of double-

sided carpet tape on the underside, just inside the glued 11.

hem.

cloth,

do so by rolling

it.

Ifyou need to store

a

canvas floorcloth,

roll

it

around a

cylin-

After the paint has cured, the floorcloth

der to prevent crack-

can be wiped clean with warm, soapy wa-

ing.

ter.

Never

cause

it

fold a floorcloth as this

to crack. If you

need

to

move

With a

can

your

the

last

little

floorcloth

many years.

care will

(J F

ARE

YOU,

a

little

JL technique on a tice

it

fine piece of furniture,

you can prac-

on small pieces of map|e veneer and fashion them

into coasters.

ers

reluctant to try out the faux inlaid

and you

aboard or

Glue round cork bottoms on your coast-

will

have accessories that are great for use

for gift giving.

See page

1

5 for instructions.

PROJECT 36

"

Inlaid " Coffee Table

O

UR boat,

Inside Passage,

was named

after a protected stretch of British

Columbia’s coastal waterway. This area

is

and

it

rich in native history

seemed

and

culture,

fitting that Inside Passage's

decor

should include some reflections of heritage.

I

this

combined a native motif with

our boat’s name to make a design for our table top that

Desk on page

is

truly custom. See the

Lap

15 for instructions.

163

PROJECT 37

Posh Cushion

l y I

F

w

is

people know that the

nautical.

Posh

is

between

”

an acronym for "port outbound,

starboard homebound. traveling

word “ posh

origin of the

In the early

Great

Britain

1900s, people

and

India

by

steamship found that the most pleasant and interesting sightseeing

was found

of the ship

when

in

cabins on the port

(left) side

leaving Great Britain, and the star-

Two

board (right) side

of the ship

who

it

could afford

booked

on the

trip

home. Those

their cabins accordingly

and these people became known as "posh.

"

fabric panels cut to

:

Thread Dressmaker’s pins Batting

This rope-trimmed button cushion transformed

Covered buttons

Needle

our ordinary mahogany chair into a posh one.

It

pleases even the most discriminating passenger, no

matter which

way were

headed.

Dressmaker’s scissors Decorative cording with

Measuringtape

165

'P

SALOON

166

METHOD 1

.

4. Slipstitch

Measure the chair seat and cut two pieces of fabric to size, leaving

on each side 2.

for a

an additional

W fol-

lowing the instructions for the Embroi-

dered Cushion on page 91. 3.

Turn the cushion cover stuff

it

thick.

right-side out

with batting until

it is

To make the dimples, sew a covered button through

all

the layers

and

another button on the other

seam allowance.

Pin and sew together on three sides,

5.

the fourth side.

and

at least 4"

tie

side.

it

off to

PROJ ECT 39

Rope Art

T

he rope

art projects in this

to be

•

Two

pieces of 5/32" cork cut

12" by 12"

teasers to

whet your appetite

possibilities lor

troduced

me

to the

thousands of •

A

•

White glue or glue gun

fancy knotting projects. Barb Angel,

my friend and neighbor in structor,

book are meant

to fancy

Spruce Harbour Marina,

knot work. Barb’s knotting

David Fukuhara,

is

a master knot tier

in-

piece of 14" plywood cut 12" by 12"

•

Maskingtape

•

22'

•

Straight pins

in-

who has

of #3 starting cord

not only done a wonderful job of preserving the ancient

•

Photocopy of knotting pattern

own

•

Scissors

•

Contact cement

art of knotting,

but also invented hundreds of his

fancy knot designs. The knot shown here was tied by

•

Barb using David's unique method of instruction.

Fancy knots can stand on

their

own

as

(see the

Magazine Rack on page

ton seine twine, the knot

87). Hand-tied in cot-

shown here makes

a terrific

mounting

knot

works of art

or can be used as decorative accents on canvas projects

9" circle of Sunbrella (a synthetic canvas) for

embroidery hoop

•

y'/z"

•

Small hacksaw

•

Cold

•

Small paint brush

acrylic paint

trivet for the galley.

171

SALOON

172

METHOD 1

.

with the cord following the numbers.

Construct a corkboard by gluing together

When you come to a place

two pieces

where the cord has

of

cork with contact cement

and then gluing them

The double

to the

plywood.

of cord,

layer of cork provides the

means

that

that

the tying process begins.

this

you must pass your cord

is

to

be 5 V2

11

Keep

the ten-

your

first

Once

you findyourself back

your

at #1 the

knot

is

up and ready

needs

pattern

time

first

pass of the knot.

you are using #3

starter cord

at #19.

sion fairly loose on

tern on the corkboard.

circle,

.

happens

Place the photocopied pat-

If

shows a red

under the previous cord. The

firm footing to keep the pins secure once

2.

the pattern

if

on the pattern

to pass another piece

set

for

tracing.

in

diameter and

6

Before

you

7.

your

finished

knot

will

up

that

continue, check

.

end

your

work

size.

make

sure that

%" seme

For

you have done

should

be

overs

you

enlarged to 8 V2 dia"

Stick straight pins through

With

the pattern into the cork wherever

you

see a solid circle.

cord.

Make

22' length of

masking

tape.

will

If

have

and

on the pattern.

one end

the

lie flat

11

error, take

work now and

of the cord,

first

and

go-around. The cords

and close

Make

to the neighbor-

sure they do not cross

to adjust the pins slightly as

so that the

Stick a

the

through the mark on the cord and

into the “start” position

first

an

over the cord they are tracing. You

cord,

off two-thirds of the cord

it.

ing cord.

of cord.

mark this spot with masking tape.

pm

should

you have enlarged your

need a longer piece

Measure

down by

tightly with

accommodate thicker

redo

correctly.

then the other, trace the pattern laid

threading tips on the ends of

by taping the ends

pattern to

A.

Cut a

the cord

you

find

out your

meter. 3. 5.

all

your unders and

twine, the pattern

to

first

work continues

to

go-around stays on

may

you go

lie flat

and

line in the

pattern.

8

Once you have

traced the pattern three

Pick up the long end and begin to lay up

times around you can cut the ends where

the knot.

they

Trace the pattern

line

around the pins

lie

side-by-side and glue

them

in

place on the underside of the knot, using

Rope Art

173

9.

pins to

hold them during the drying

handles with a small hacksaw. Paint the

hoop

process.

Cut a

11.

9" diameter circle ol Sunbrella

and

gold.

Mount

the fabric in the

hoop with the

10.

secure the knot

in

the center ot the circle

by sawing

in the middle. {Note: It

can

be a bit tricky mounting the fabric with-

using white glue.

Turn the embroidery hoop

knot centered

into a

off the stainless steel

frame spring

out the spring handles, but

it is

possible.)

PROJ ECT 40

Step/Storage

T

his

step/storage box

from our

chased

Irut ide

sister ship,

difficult to negotiate

Hot

Hot Rum.

Pcwoage she had

the back deck into the

Rum seemed

to

is

an idea

Box

we borrowed

When Greg and

I

a set of steps that led

pur-

from

main saloon. These steps could be

and once a guest

fell

down

them.

have the answer, substituting a •

broad, sturdy storage box for the steps. Since storage at a it

premium aboard any boat,

a winner.

Our friend, Fred

did unit for us and

the box’s dual duty

is

See page tools

15 for a full list

and materials

makes

Jenkins, crafted this splen-

imbedded brass bars

in its lid.

The

brass bars are esthetically pleasing and very functional as anti-skid agents.

I

used the faux inlaid technique to

embellish the face of the box, choosing a native design to co-ordinate with the native motif on the coffee table. See

page 15 for instructions.

175

of

Vj ^Tnside

passage’s

JL original owners, Lee,

IV

came by

builders

John and

to see their old boat the

other day. Unfortunately

home, so we have yet aboard.

It

first

we

to

weren’t

have them

has been about eleven years

since they last

her

and

Shelly

saw

glimpse

her,

and Shelly said

warmed

her heart.

Without stepping aboard she could tell

her old

home was

The handpainted crafted

life

still

buoy, carefully

name board, and

knot welcome mat were als to the

well loved.

all

the lover’s

testimoni-

deep affection we, as her

present owners,

feel for

our boat.

PROJECT

41

Doorstop Button

O

UR TRANSOM door used gunwale’s

wooden

opened. The noise was

was even more

the trim

by

this small

to

bash against our

trim each time the door irritating,

so.

was

but the damage to

Now the trim is protected

but mighty thump mat.

Thump

mats

are traditionally used on the decks of sailboats to

prevent the deck blocks (the pulleys through which the running rigging runs) from banging

and

rattling

on the deck. The miniature mat pictured here was fashioned from

3' of

No. 60 cotton seine twine and

attached to the trim with self-adhesive velcro.

when our door swings sound.

Maybe we

thump”!

open, there

is

is

Now

no “thump"

should rename the mat

of No. 60 cotton seine twine

•

3'

•

Maskingtape

•

Self-adhesive velcro

•

Scissors

“anti-

179

DECKS

180

3.

METHOD 1

.

2.

Bring up some oi the slack and pass the

Cut a 4' length of cotton seine twine. Tape

ends

each end with masking tape to prevent

the knot,

the ends from unraveling.

the strand

Lay up your knot following the Figures 1—3.

FIGURE

1

steps in

now

oi the twine

making sure not

you are

tracing.

to cross over

The mat

will

be double stranded instead oi single

stranded (Figure

FIGURE

one more time around

2

4).

Doom top Button

4.

Patiently

work out

resulting knot cal.

is

the slack so that the

compact and symmetri-

Trim the ends on the underside and

affix in place

with sell-adhesive velcro.

181

PROJECT 42

Lovers Knot Rope Mat

it chose jL

this

the lovers knot as the centerpiece of

mat

for

two reasons.

perfect for fashioning a

Firstly, its

but

skid

is

so

handsome

asking people not to wipe their feet on

in truth, this

tiful.

For

safety’s

and placed

mat

is

sake

it

I

is

welcome mat. Secondly,

simply liked the name. The mat feel like

shape

as functional as

it is

I

1

it,

beau-

cut a piece of carpet anti•

100' of /%" manila rope

•

Sailor’s or marlin twine

•

Sail

•

Fid

•

Nails

•

Piece of scrap plywood

•

Maskingtape

under the mat.

needle

(at least 14" long)

183

DECKS

184

METHOD 1

.

with masking tape to prevent the ends

Use a photocopier

to enlarge Figure

Irom unraveling. Take a bight of about

1

4.

three times. This will be

your pattern

laying up the lover’s knot.

should measure other (nail to 2.

Make

3.

The pattern

12" from one

end

to the

a jig lor

your knot by hammering

for the nails

10'

plywood. The placeis

indicated by the

and

with

set

up the pattern

this 10'

will

end up with a single pass knot

(Figure 4). Remove

making sure not

Cut a 30' length

slack thatyou

FIGURE

2

it

from the

jig

and

pass the long end around two more times,

you

and tape each end

your knot

length by following Figures

black dots on your paper pattern. of rope

lor

2 through 4.

You

nail).

nails in a piece of

ment

lor

to cross over the rope

are tracing. Gradually

may have

draw up any

(Figure 5).

Lover s Knot Rope Mat

185

?

FIGURE

3

FIGURE 4

FIGURE

5

DECKS

186

5.

Before trimming the ends, whip them

with

sail

to complete your

whipping. Lay up your twine as shown Figure

Take a number

6.

in

from the 7.

end through the loop (Figure

the

free

7). Pull

on

the left-hand end of the twine until the

head of the loop

is

buried in the middle of

the turnings (Figure 8). Trim the ends of

Sew

the

body of

end

in a recess

mat and

the knot using

sail

FIGURE 6

FIGURE 9

on the underside of

stitch in place (Figure 14).

Arrange the rope

in a tight coil

the lover

use dressmaker's pins

s

knot.

8.

Once

the coil

temporary

whipped ends of the rope

piece of rope and

I

around

to hold the coils snugly in place.

the twine. 6.

front.

Whip an end of your 70' lay the

of tight turns

around the rope, and then pass the

sure the ends are on the un-

derside of the mat so they are not seen

or marlin twine. Follow the dia-

grams outlined here

Make

twine.

to the

(Figures

or marlin

the rope.

FIGURE

7

FIGURE TO

9,

is

the desired size, put a

seizing 1

0,

knot)

and 11)6" from the end

FIGURE 8

FIGURE

(constrictor

11

of

Lover s Knot Rope Mat

9.

Sew

the

187

mat together by sewing through

the center ot each rope in the coil with

sail

or marlin twine. Start your stitching at

eac h bight on the lover’s knot and radiate

out to the outermost ring on your

(Figure 12).

Make

on the underside 10.

Now

lor the

I

coil

sure your knotting

of the

is

mat.

male! Unlay the strands ot

the end ol the rope back to the seizing

and use a

lid to

open up the neighboring

strands ol the coil so that the ends neatly tucked away. This

is

most

explained by following Figures

and

15.

may be easily

13,

14,

Trim the ends.

FIGURE 12

FIGURE

15

PROJ ECT 43

Folding Deck Table

( SING

A large-scale nautical chart of your cruising

L^'l^grounds as the decorative surface lor a coflee table can turn the table into a great conversation piece.

One

ot the

most pleasant aspects

ol cruising

is

sitting

•

Foldingtray table (this one

is

from IKEA)

on the back deck

at the

end

ol the day,

Measuring tape

•

Spray adhesive

(or didn ’t) will be

•

Maskingtape

more believable lfyou can point to the exact spot

•

Newspaper

and sharing yarns with fellow boaters. That

story about the big one that got all

the

watching the •

sunset,

away

•

on the chart where you hooked him. This folding tray table makes a perfect coffee table for

our

aft

deck.

It is

lightweight, easy to stow,

and

•

enough

your trophy

to

fish)

not in use.

(I

at-

be bulkhead mounted (right beside

when

Matte spray sealer Krylon)

•

tractive

Nautical chart of your favorite cruising area

Semigloss varathane

•

Paintbrush

•

Scissors

•

Very fine sandpaper

189

used

DECKS

190

METHOD 1.

Measure

.

Flat

surface of the tray top

oF the nautical chart liberally

and cut a section

of the nautical chart to

glue-

the 2.

4 Spray the bottom oF the tray and the back

same

the

Make

with spray

sure the glue gets into the

corners oF the tray.

size.

Lay the chart on

the tray table and, using

a pencil or piece of painter’s tape,

5.

mark

Glue the chart istration

to the table. Align the reg-

marks you made

in step 2

and

3.

the center ol the top and bottom oF the chart, both

on the chart and on the

glue

down

the chart

by pressing From the

center outwards.

sides

allow you to

6.

Spray the chart with a matte spray

correctly align the chart on the table once

7.

Topcoat the tray and chart with eight

oF the tray.

These marks

will

they have been sprayed with glue.

coats oF varnish. AFter the Fourth coat,

Using masking tape and newspaper,

mask

oFF the sides oF the

tray leaving only the

sealer.

Flat

surface of the tray

start

sanding very lightly between coats

with very Fine sandpaper (400

grit). Fol-

low the manufacturer’s instructions

For

drying time between coats.

exposed.

'

/V

Ay

PROJ ECT 44

Decking Out the Deck Chairs

ou KNEW

y\

knots

know

a

there

in this

would have

to

be some

sailor’s

book, right? Every sailor needs to

few basic knots such as the bowline, the

knot, and the carrick bend. These are

reel

among the knots

dressing up the back of this otherwise nondescript

deck

chair.

The importance be underestimated. has yet to

of learning the basic knots

One

come forward)

time, in

someone

cannot

(that person

our crew aboard Morning

Star neglected to follow basic knotting practice and

our dinghy broke

free.

The

captain,

my husband

at 1

the time, ordered me, the strongest

swimmer

of the

crew, to dive into the water and retrieve the dinghy,

which was being sucked out to sea by wind and

tide.

swam

in

out to the dinghy, put the painter (line)

I

decorative gold cording

•

15

•

“Invisible” nylon thread

•

Sewing needle

•

Canvas deck chair

my 191

!

Decking Out the Deck Chair

swam

mouth, and

But try as

and

it!"

might,

I

1

my mouth and

My

mad towards our boat.

was no match

Despairing,

tide.

from

like

I

lor

wind

removed the painter

shouted,

can’t

"1

make

husband’s (now ex-husband) voice

echoed through the crowded anchorage, "Just get

in

the dinghy and start the engine

METHOD 1.

Slide oil the canvas

back

of the

deck

chair. 2.

Cut a piece

3.

Arrange the cord

oi

cord

15' long.

a knotted design

in

around the border of the canvas. Experi-

ment with For

my

different knot arrangements.

design

I

used an overhand knot, a

square knot, a figure eight, two half hitches, a bowline, a sheep shank,

and a

carrick bend. See pattern opposite. A.

Once you

are

happy with your knots, use

dressmaker’s pins to hold the cord place while

you

stitch

it.

Use

in

“invisible”

nylon thread to sew the cord to the canvas.

Make

tiny tack stitches

side of the canvas,

and use a longer

along the cord. The cord core, so

it

on the back

flattened as

I

I

stitch

chose had no

sewed.

193

PROJ ECT 45

Bell

(7 T

A

IS

Lanyard

sorry but common

sight to see a

-/.ship's bell with a piece of twine

Few ol today’s sailors have

striker.

knots, daily It

and most

life

feel

handsome

hanging from

its

mastered decorative

too stressed with the pressure of

to take the time to learn.

takes time and patience to create this lanyard but

the finished product will be a source of pride for years to

come. The crafting of a love,

bell

lanyard should be a labor of

and not a chore, so put your

Jimmy

Buffett recording,

and dream

feet up,

put on a

of a tropical para-

•

15'

of No. 60 cotton cord

(seine twine)

dise while creatingyour heirloom. •

Masking tape

•

Scissors

•

i'A" piece (or piece

of 14 " dowel

ofwooden skewer)

195

DECKS

196

METHOD This

knots

ol

lanyard

is

a combination

— the crown sennit knot, the star knot,

and the Turk’s head. Each

ot these

lour working ends ol equal length to

th ree

ol

twine and center them so that you have

3.

build

your sennit knot. Position these

two pieces

knots will

Figure

be described separately.

ol twine

(AC and BD)

as in

2.

Set up your sennit knot and pull snugly

Crown Sennit 1

.

around end

Cut two pieces

twine

ol seine

A'

long and

tape the ends with masking tape to pre-

A.

ol

dowel (Figure 3 and

Repeat steps 3 and 4

Cut one piece of twine

18" long

and tape

both ends. Tape this piece ol twine to

your dowel

as

shown

cotton twine forms

tom

ol the

itself for

in

a 1"

Figure

1.

The

loop at the bot-

dowel before doubling back on

the length ol the dowel and be-

yond. The dowel and cord taped to

it

form the core around which the sennit knot

is

tied.

Thread the two A -long pieces

FIGURE

knot

covers the entire length ol the dowel

vent them from fraying. 2.

A).

until the sennit

1

FIGURE 4

Bell Lanyard

(Figures

5,

6 and

7).

You now have

five

cords with which to work, lour irom the sennit knot five

and one from the

cords will be used to

at the

end

tie

core.

197

Star Knot 1.

These

Arrange the in

Figure

8.

five

working ends

end passes underneath

the star knot

A

Loop cord

its

so

as

its

shown

working

standing end.

of the lanyard.

FIGURE 8 2.

Using cord B take a hitch around cord A. Using cord

C take a hitch around cord

Using cord

Using cord

D take a hitch around cord C. E take a hitch around cord D

and teed

working end up through the

its

original loop you

made

in

9).

FIGURE

FIGURE 9 7

cord

A

B.

(Figure

DECKS

198

6.

3.

Now

follow Figure 10 by

strand sennit knot to the

making a

Turn your knot

five

Figure

left.

over.

It

should look

like

13.

7.

FIGURE io 4.

Take cord

A and pass it to the left so

lows the bight of cord still

C

B

fol-

E and then traces B over

and then down through a

following

it

Feed the working ends through the cen-

bight,

(Figure 11).

A

Strand

ter of the knot.

is

fed through

E

hole A. Strands B, C, D, and

E

are fed

through their corresponding holes (Fig8.

ure 14).

FIGURE 5.

Repeat

this

11

procedure for the other cords FIGURE 14

(Figure 12).

Turn your knot

right side up.

look like a bad hair day with

coming up through the

now

follows

its

It

all

center.

will

now

the cords

Each cord

adjacent cord

down

a

bight (two cords wide), and then inside

FIGURE 12

the underlying

two cords to emerge at the

bottom

knot alongside the sennit

of the

(Figure 15).

Bell Lanyard

199

page 107, with one exception. Instead

of

fidding the ends into the underside of the knot, simply

draw the knot up tightly and

trim off the ends on the underside with a pair of scissors. 2.

Cut a piece of twine IV2 long and '

FIGURE 9.

The

1.

15

finished knot should look like Figure

16.

FIGURE l6

Turk's Head

Two Turk’s

heads dress up the lanyard, one a

single strand

and the other double. Both

knots are seven bight Turk’s heads. These knots are tied directly on the lanyard and are

FIGURE IO

fitted snugly. 1.

Cut a piece

ol twine 3' long

and tape the

ends with masking tape. Tie a double strand Turk’s head following the instructions for tying the Turk’s

head knot on

up a

head following the

single pass Turk’s

structions in step

set

in-

!

RO ECT 46

P

j

Bringing New Life

T

he hull

to the

Old Buoy

shines, the brightwork glistens,

and the brass sparkles. Your vessel

is

look•

ing perfect except something doesn’t

seem

quite right. There

buoy

is

an orange

plastic life

Life

buoy

(it

doesn't have to

be orange!) •

Primer (compatible with your buoy)

hanging on the wheelhouse, and

it

doesn’t

fit •

the picture

With a

little

effort

on your

from a safety point life

buoy

of view,

it is

identified.

a

good idea

to

luster exterior latex paint

white and blue (or colors

of your choice)

part, this eyesore •

Cold

•

Stencil adhesive

•

X-acto® or

•

Permanent

felt

•

Two

stencil

brushes

('A"

and

•

Stencil roller

•

Paper towels

•

Freezer paper

can be made into an attractive focal point. Also,

have your

Low in

acrylic paint

utility knife

marker

1")

I

201

•

DECKS

202

5.

METHOD 1.

2.

will follow the

Prime your buoy with a good quality

lay flat against the surface.

primer.

With your cutting

Basecoat the buoy white and allow the paint to cure up to ten days before

tering.

your

4.

stencil.

Spray the mat

Remove

letters in the

Cut out a ring of freezer paper

knife, cut along the

banner portion ofyour design and the

you

begin your stenciling process. 3.

contours of the buoy and

banner

letters that spell

to act as

side of the

stencil the

let-

the banner, but leave the in place.

Remove the

out your port. Roller

exposed areas

in the

banner

freezer paper with stencil adhesive.

blue (or whatever color you choose). 6.

Trace your design onto the shiny side of

Make sure you

your freezer paper using a projector (Ar-

a paper towel before you begin the sten7.

tograph’s Tracer, or an overhead projec-

ciling process. It will take several coats of

or

tor)

enlarge your

graphics

paint to build up the desired opaqueness.

on a

photocopier. If you use a photocopier to

enlarge your design, apply stencil adhesive to the

back of your enlarged pho-

tocopy and position shiny side

the

it

over

Allow the paint 5.

as

a

your the

Cut out the gold trim section of the design and stencil this area gold using a

of the

bottom of

the

all

paper

and

allow the paint to

dry before topcoat-

and

mg

edges

so

stencil brush.

Remove

your paper

pattern

W

freezer

for

stencil. Clip

top

to dry.

Reposition the banner cutout.

freezer paper to act

pattern

off-load excess paint onto

the

several

buoy with coats

marine varnish.

it

A

, o

V/VE**'

of

Bringing New Life

to the Ole)

Buoy

ABCDE FGHIJKL

MNOPQRS TUVWXYZ

?

PROJECT 47

What's

/7^ a ck

in

the

the time,

in

Mark,

early 1980s,

and

I

Name

a

my husband

lobstered and longhned out of a

small fishing village on the south shore of

Our

at

Nova

Scotia.

lobstering season didn’t begin until the end of

No-

Our

goal

vember, so our hours of daylight were few. each day was to reach the

first of

our buoys (there were

one hundred and twenty-five of them, and two lobster pots to a buoy) just as the sun

came up and

by sun down. That meant getting out godly hour, layering on clothing

keep out the

cold,

in

of

pull the last

bed

at

an un-

a futile attempt to

and trudging through snow down

to

the docks. Often the snug harbor

was covered

We could

bow as we motored

hear

it

crunch under our

out of protected waters.

Once we rounded

breakwaters and headed out to

sea,

in ice.

the harbor’s

Mark would break 205

DECKS

206

into its.

song

an attempt to brighten

in

my spir-

matter

how you choose your

He sang:

name, undoubtedly a

Bright morning dtar id riding, Bright morning

gone into the choice.

Bright morning dtar id ruing, and dawn

breaking in It

name

for

had sentimental value, the name

would be

easily

transmissions, tial."

and

Many people

comes

to

recognizable over radio it

had good

"resale poten-

are superstitious

when

it

changing a boat’s name.

when Greg and I bought Inoide we were not put to the superstition

Luckily,

Paddage test.

We

both liked her name and

felt it

was

perfect for a gracious lady who prefers (as do to explore the protected waters of the gulf

islands

and the coast

sailing the

s

fitting, after

is

very important,

but the nameboard can be decorative as well

searching lor a

our sailboat, Morning Star seemed the natural It

seems

sons, vessel identification

always worked.

choice.

It

boat

of thought will have

proudly and predominently. For safety rea-

id

my heart

When we were

lot

such a process, that the name be displayed

dtar id riding

I)

No

(the Inside Passage) to

open ocean.

The nameboard featured here

as functional.

was fashioned from lettering

was

left

V2"

yellow cedar and the

natural to contrast with the

mahogany stain. Note: This project was topcoated with

many coats

of

marine varnish.

Resources

BOOKS

Stitch e3 Stencil,

An Introduction to Crewel Embroidery, by Mave

by Sheila Coulson and Tessa

Brown, Martingale and Company, 1999.

Glenny, Guild of Master Craftsman Publications Ltd., 1998.

Victorian Stained Glaoo Pattern Book,

Sibbett, Jr., 1979

Aohley Book of Knoto,

by Clifford Ashley,

Inc.

Dover

Ed

Publications,

New York

Doubleday, 1993.

CUSTOM ROPE WORK Celtic Knotwork

Handbook, by Sheila Stur-

rock, Guild of Master Craftsman Publi-

cations Ltd., 1999.

Celtic

by Aldan Meehan,

Thames & Hudson,

e-mail: [email protected] tel:

Pat terno: For Painting and Crafto (Celtic

Deoign Serieo),

Barb Angel

1997.

Fancy Knotting, by David Fukuhara, Blue-

water Cruising Association, 1999

604 736-4137.

Endleoo Knoto: Original Knot Deo igno,

Fukuhara, Suite 230-4088 Blundell Rd.,

Richmond,

BC V7C5V1

604-448-4316

FOLDING LAP DESK Banta Brothers Fine Furniture

Alarlinopike

Sailor,

by Hervey G. Smith, Mc-

Graw-Hill Ryerson, Limited, 1993.

e-mail: [email protected] tel:

250-847-2363

Box 2641 Projection Stenciling,

and

by Linda Buckingham

Leslie Bird, Hartley

Publishers, 1999.

and Marks

David

Smithers,

V0J 2N0

BC

BOSTON PUBLIC LIBRARY

3 9999 04091

W

940 7

A 1

Sources aoston Public

-iDrary.

Sale of this material asnefits the Library

Painter ’s Tape

Delta products

Etching

Soap Creations, PermEnamel

Kit,

Paint, Transparent Glass Paint,

Accent

and Stained Glass "Leading”.

Liners,

Stationery stores, and art supply stores

Primed Canvas

stores, fabric shops, specialty

embroidery shops

Stencil supplies including paints, stains,

Local supermarkets, grocery stores, butcher

Buckingham

Stencils

Buckingham

Stencils

Tel:

Complete

N 98

th

Ave., Peoria, Arizona

Rope Work) Supplies

stores, ship’s chandleries

Keystone Supplies Co. 1

1060 River Rd.

Richmond V6X Z5

BC

1

Tel:

Seattle Tel:

604-273-4557

Marine 1-800-426-2783

www.seamar.com

centers.

Stencil Products line

of stencil supplies and

stencils.

602-933-2962 ’s

stores, paint

home decorating

www.buckinghamstencils.com

Stencils

Products, Inc.

Marluispike (Sailor

Marine

Creme and

palettes are widely available at

and hobby

Outlets and

Wyckoff, N. J. 07481 Etchall Etching

and paint

craft

Glass Etching Supplies

Armour Etch Cream and Armour Products

stencil adhesive, stencil rollers, stencilbrush-

es

www.buckmghamstencils.com.

19721

Art supply stores Stencil Supplies

Freezer Paper

B&B

and

Permanent Felt / Markers

Teh 1-800-423-4135

shops, or

stores, paint stores

Art supply stores.

CA 90501

Embroidery and Sewing Supplies

Dry goods

and varnishes are available

Irom hardware

Pellisier Place

Whittier,

and Varnishes

Paints, stains

Delta Technical Coatings

2550

Available Irom paint and hardware stores. Paints, Stains

Tel.

85382

1-877-301-8181

Sign Vinyl

Art supply stores, print shops, and selected craft

shops

Tracer Projector

Artograph

2838 Vicksburg Lane

North Plymouth,

MN 55447

Tel 612 553-1112

www.rexart.com/artograph Utility Knives

and X-acto Knives

Art supply stores, and hardware stores

CRAFT BOATING

ISBN 0-88I79-I92-X

/

Beautiful

BOAT

FTS

c:

Decorating Ideas and Projects

M

for

OnBoard

ake your boat shipshape with Beautiful Boat Crafts

Expert decorator and

!

“liveaboard” Linda Buckingham, shares her wealth of knowledge with over

50 projects to help you decorate your boat, whether

scale yacht.

Even landlubbers can use these

All projects can be done

it is

a small sailboat or a full

projects to bring a nautical flare to their homes.

on board using easily available tools and

Buckingham from floorcloths and

materials.

you step-by-step through designs for all areas of the boat, knotwork to cushions and glasswork. A wide variety of techniques are explained in detail, including ropework, stenciling, faux finishing. Items such as the Canvas Deckchair, Lantern Lashing, and the Step/Storage Box will transform your boat into a unique showpiece. takes

Lavish

full

color photographs, clear concise instructions, and detailed illustrations

Beautful Boat Crafs as inspiring as

it is

make

useful.

LEARN TO MAKE: Rope Broom vp

Simply Elegant vs

Head Napkin Ring

Turk’s

Wash Basin

v/»

Scented Seashell Potpourri vs

Canvas Placemats vp

Faux

High Art

«//>

for the

Lanyard

High Seas

rJ/

j*

Sea Soap

Stenciled Curtains

Blind Pulls vp Magazine Rack vp Gilded Plates v

& Floorcloths

vp

Wood Inlay Tray Table vp

vp Bell

Faux

& True Glass Etching

vp Stenciled

Embroidered Linens

Make your boat stand out from

the

Nameboard v

vp

crowd with

thesefinishing touches.

Hartley 9

780881 791921

6- Marks

PUBLISHERS

$ 24.95 IN

THE USA

$ 32.95 IN

CANADA