VEGA
WoodenBoat Magazine 312
ISSUE NO. 312

September / October 2026

Editor's Page

Comfort and Seakeeping

In his article on the repowering of classic designs with modern electric motors (see page 20), Ben Parson presents us with a range of distinctly different hull shapes that are all classically beautiful. On the cover of this issue and on page 20, we meet VEGA, a launch from Maine’s Cranberry Islands built in the 1930s. Her round-bottomed displacement hull differs markedly from that of WOMBAT, which appears on pages 20 and 22. WOMBAT was cold-molded in 1992 to a 1915 design by William Hand, who pioneered the concept of V-bottomed hulls for powerboats. These boats could reach semi-displacement speeds and thus exceed theoretical hull speed. With their hard chines, angular hulls, and broken sheerlines, they ushered in a new level of performance in powerboats—and challenged conventional notions of beauty in boats in general

Further along in the article is TOODLIN’, a 19' Glen-L runabout that recently had her 5.4-liter V8 inboard motor replaced with a 40kW (about 53-hp) electric outboard. As the photograph of her toodlin’ along at speed on page 32 attests, she’s a pure planing boat; she can reach 24 knots with her new electric powerplant—a modest speed by runabout standards but an achievement for an electric powerboat.

These three boats are from varying eras of design and are quite different from each other. I find each of them beautiful—and in keeping, more or less, with the standards for beauty set forth by Harry Bryan and Maynard Bray in their article “Beauty in Boat Design,” beginning on page 72. But when I turn to Tad Roberts’s review of the 14' center-console powerboat Crispy 440 on page 98, I’m challenged. This boat is different from the three presented above and does not conform to the parameters of beauty laid out by Harry and Maynard. The sheer is dead-straight. There is no complexity to the bow profile. The stern reverses. And yet, I find the shape to be compelling. And alluring. And, dare I say, beautiful in its expression of ability.

Tad writes, “With a dead-straight sheer and moderate freeboard, the boat’s character is both modern and capable.” To my knowledge, it harks back to nothing, but its capabilities are apparent in its lines. Its sweeping chine profile offsets its straight sheer, and its functional transom bow somehow offsets the straight profile. Tad writes that he appreciates that “tiny bow transom…. It adds that snubbed modern look that is popular today, and there are some practical benefits. Within the given overall length having the bow transom increases interior volume over a pointed-stem boat with finer deck lines. And having that extra volume up at the sheer means the bow lifts over waves rather than plunging through them.”

Perhaps it’s that sublime message of capability that I find so appealing in this not-so-classic boat—not to mention the approachable construction. I can imagine myself making, as Tad writes, a “moderate investment” and spending a “winter’s worth of weekends” putting this hull together, with the promise of summer, comfort, and good seakeeping.

Matt Murphy

Editor of WoodenBoat Magazine

WOMBAT
Page 20

Electric Repowers for Wooden Boats

by Ben Parson

In our shop, we’ve been lucky that our customers usually approach us with aspirations for electric power, with no hard sell needed. Most don’t have electric cars, and although green-energy ideas do inspire some, for many the attraction of electric power in a boat is about the experience, not the carbon credits.

Many wooden boat owners are drawn to the sensory experience of being afloat. The appeal might lie in the honey glow of a varnished coaming, the soft roughness of a bare wood sole, or the splash of water against a lapstrake hull. A quiet electric motor complements the subtleties that many of us appreciate about wooden boats.

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The MARY LEE
Page 40

Six Generations of Boatbuilding

by Greg Rössel

Maine is blessed with a pantheon of top-notch builders of working boats, but few have the legacy of the Lowell family, which extends beyond commercial fishing boats to yachts and government vessels. They are the descendants of William (Will) Frost, widely regarded as the inventor of the iconic Maine lobsterboat, and his grandsons also became noted boatbuilders and designers. They, and most of the region’s powerboat builders, have been influenced in some way by Frost’s signature semi-displacement, semi-planing hull.

Jamie Lowell, one of Frost’s great-grandsons, has become something of a curator of his family’s 400-year boatbuilding legacy, along with his wife, Ruth, and other family members.

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A flexible curve template.
Page 48

A Flexible Curve Template

by Bart Chapin

Years ago, a boatbuilder friend of mine showed me a flexible curve template. It consisted of a thin spring-steel plate about 8′ long connected to a series of stand offs that in turn were connected to a number of slotted flat pieces of metal. The slotted pieces were tightened to the stand offs with thumb screws to hold the spring-steel batten in place, thus picking up whatever curve the batten was formed into.

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Esperanza Woodring poles her boat.
Page 64

Esperanza’s Launch

by Stan Grayson

The view from Ralph Woodring’s house, close by the sandy shore on the north side of Sanibel Island, Florida, is of sparkling San Carlos Bay. There’s a little scrub-covered island out there, and beyond it in the distance, the green and red buoys marking the Intracoastal Waterway. On weekends the Waterway hosts an endless parade of noisy powerboats but on this calm midweek morning in late March, the bay is largely undisturbed and ripples with a pleasant whisper against the pilings of Ralph’s dock.

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MALABAR II
Page 72

Beauty in Boat Design

by Harry Bryan • Maynard Bray

BENJAMIN MENDLOWITZ

The success of a boat design is largely dependent on four considerations: safety, performance, comfort, and beauty. The purpose for which the boat was designed will influence the priorities of these components. Other than extreme examples—such as a lifeboat, for which safety is the overwhelming design objective, or AMERICA’s Cup racing, where speed is the goal at all costs—I think that none of these four components can be eliminated without compromising the overall merit of the boat.

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Two Zippy Little Schooners
Page 78

Two Zippy Little Schooners

by David Stimson

Who doesn’t love a schooner? I sometimes ask myself why schooners pull so strongly on the heartstrings of so many sailors. Is it simply the name, or is it a deeper, less-tangible quality? Whatever the reason, I, for one, would like to own just one more schooner before weighing anchor for that final voyage. A couple of good friends feel the same. But schooners tend to be big and therefore costly and time-consuming to build and maintain. My friends and I no longer possess the stamina that in our youth allowed us to lavish energy on big boats.

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Heaving mallets
Page 88

The Heaving Mallet

by Courtney J. Andersen

The heaving mallet, or “heaver,” is a tool used by traditional riggers when a piece of cordage, usually of small diameter, needs to be pulled with a great deal of force. Examples include setting a strand’s tuck in a large splice, tightening the frapping turns of a fiber or wire seizing, or getting the lark’s-head hitch taut to finish tensioning the lanyard on a deadeye. All require a very short but powerful pull. A heaver relies on the binding effect of how the twine is “loaded” onto it, combined with leverage achieved by its handle.

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Freshly restored (with aircraft fabric) 1966 7.5' dinghy, with oars; and a 1937 Sailing Old Town