Pdf Monkey Rocker Plans
Giovanna Qiu
Another proa and it also is designed for two. It might be a tad too light for a proa and will need an athletic deck monkey to keep it upright in foul weather. Thus the cockpit arrangement might be a bit constricting. Be sure to include a full waterproof dry suit for both participants. But this could also be very fast with the right weather. In very light winds the two paddlers will be able to keep up a good speed to stay with the kayakers.
This seems like a very good proa design that has a chance of doing well. Normally I don't care for proas, but they certainly have the speed potential and can work well especially with a crew of two. This design has a good tradeoff with comfort and speed. A crew of two means that in foul weather a deck monkey can keep the boat upright. In reasonable weather one can sleep in comfort while the other pilots the boat. In light weather it may be a bit slower than 6 (Bedlam) and some other class 4 boats but that depends somewhat on the crew. Can it get through the bridge at CP1? I couldn't tell for sure. Does the ama pivot?
Juicer has had a lot of thought gone into the design, but the drawings are sadly not enough to show me how that has been applied. The written submission suggests that some more work on the drawings could produce something quite interesting. I certainly like the idea of the size and layout and the rig is likely to be a good match for the boat and the course.
An interesting approach but looks a bit too tender. No rocker would make it difficult in waves and following seas. What is that "grip"? Don't need it and it might cause problems with beach landings and even snag lobster/crab trap lines. Get rid of the grip and add some rocker.
I really like this boat, good thinking, good ideas and good plans. I can imagine two guys getting together and putting in a few hundred dollars each, half a dozen weekends with epoxy and plywood, the kids helping with plastic porch paint and getting a friend to do a bit of welding on a standard handyman trailers drawbar to get the length required and the whole family heading off to the start. Its really close to what I see as the original concept that the WaterTribe challenge is all about.
Cheap, cheerful, fun and no slug. If you were to start the project with the objective of finishing in good order and condition and not too far down the field this is the way to go.
I like the concept, a big very light plywood scow with a big rig with low center of effort, a rig that can be struck at sea so she can be rowed under bridges and up creeks. The rowing stations are efficient, and there is probably space to put sliding seats in there which could help. She has good accommodation so the crew can run the course non-stop given halfway decent weather.
All in all, a very good boat for the less committed, an entry in CowScow would not break the bank and given some luck and skill could delight the crew by embarrassing much more expensive challengers. Could I persuade the builders to consider bamboo spars, just to really rub it in.
This is an interesting monohull approach and could do very well. The design includes good reef points and plenty of comfort. It also is designed for a crew of two and this is good for a sharpie/scow type of boat that can be tender. One nice thing about this is that it should row very well if we get light winds.
Too much sail and why two masts in a 16 foot boat? If simplified this could an interesting design. However, the designers says it is a fair weather boat and I agree. The Everglades Challenge is not a fair weather event.
*But now this is where things get tricky... I would like to paint onto the surface very loosely with water media, (Golden High flow acrylic) before water gilding the whole surface and bringing it to a high polish, then removing the gilding where I want to reveal the under painting, coating it with Golden MSA varnish and a coat of GAC 100 before I oil paint on top of the entire thing.... I know, talk about over-complicating things.
Does this process raise any red flags for soundness and archivability? Even though loosely water painting onto the kaolin surface does not appear to cause any issues, I worry about the soundness of the gesso after I've wet it? I'm stuck on using traditional gesso because I'm looking for the high polish the kaolin provides. Unfortunately any ready made bole products I can find here in europe aren't white enough.... even with the addition of 1/10 titanium.
Another concern is the ability of traditional gilding liquor to adhere the leaf considering I've now covered it with a water-thin layer of acrylic? I've noticed on some websites here in Italy that they use fish glue to adhere the leaf after traditional gesso prep. I've since secured some Isinglass (Selinski) and I'm wondering if this is a sound way to adhere the leaf that will allow a true burnish? Should I apply a coat of glue and let it dry, then apply the leaf in a normal fashion with gilder's liquor? Plus I honestly have no idea how to prepare the glue or at what strength I should be using it.
Any expertise and help would be greatly appreciated. Just hoping I'm not completely off my rocker on this one, because I've been working for well over two years to nail this process and I'd hate to give up at this point, but I keep running into archival walls and I'm beginning to doubt that what I want to achieve is doable.
First, I would not seal a panel intended for an animal gluebound ground with anything, including shellac. It is far preferable to size thepanel with two coats of thin animal glue. The shellac will promotedelamination.
Second, I hate to throw a monkey wrench into your plans, buthigh sheen water gilding can only be done on an animal glue bound ground,preferably with an animal glue bound bole layer. Any water-resistant coatingslike acrylic dispersion paints may possibly prevent adhesion but will certainlymake burnishing impossible. When one burnishes gold leaf in water gilding, theyare actually burnishing the ground and animal glue bound bole and not the metalleaf. It is not even necessary to use a glue solution during gilding sincethere is such a surplus of glue in the bole and ground.
Finally, if you go ahead with a procedure like you describe withits complicated, disparate materials mixtures and stratigraphy, please recordyour process on the back of the panel to aid future conservators in devisingand appropriate treatment protocol.
I agree that water gilding is probably not the best technique for your paintings. Water gilding cannot be applied as specifically in certain areas only. For detailed and more controlled applications oil gilding or acrylic sizes are more suitable, but cannot be burnishes. You can do a whole surface in water gilding and polish only certain areas, then apply MSA Varnish followed by High Flow Acrylics. It is not possible to paint with oil paints over MSA Varnish as the UV light stabilizers hinder the oil paint from curing, so the oil paints remain tacky (see =painting+with+oil+over).
Removing gold leave locally, as you suggested, is also not easy. It would require physical abrasion and most likely you would scratch into the paint layer underneath. If this aspect of applying and removing a gold layer is the most appealing to you, then you could consider using an iridescent gold color. The OPEN Acrylics would give you a few hours of working time before it sets up and iridescent oil paint dries extremely slow, but you can control that by adding a fast or slow drying alkyd medium.
One more idea that comes to mind is, if you build up your layers with acrylics, as Brian suggested, you could create you first pictoral layers with the High Flow colors, then apply one or two coats of Isolation Coal, apply oil gilding on top of that and while the oil mordant is still relatively fresh, you can remove the gold leave with OMS and Q-tips or a rag. The Isolation Coat should protect the acrylic paint layer underneath during this process. Afterwards you can continue painting in oils.
I have since stumbled across the same advice given online over several forums, but I'm quite certain it's coming from the same source. That is, if I prepare a traditional ground of RSG and bole on panel (not primed with shellac), and gild and burnish the ground, this source claims the gilded surface can then be varnished (they recommend MSA), and then coated with Golden GAC 200 before working on the high-polish, gold field with either acrylic or oils. Just wondering what your thoughts are on this. I'm understading the varnish is to protect the gold from the acrylic polymer and the polymer is to protect the varnish from the solvents? What I'm liking about this approach is that it allows me to work reductively with oils (liquin/sansodor) and does not appear to be dissolving the varnish? I'm also wondering if there is a better varnish choice as your response mentioned I should stay away from MSA as undercoat because it would make a conservators nightmare.
Also, what are your thoughts on gluing a linen gauze over the panel before applying gesso? I noticed this is a traditional approach in iconography. From what I've seen the linen is soaked in a solution of RSG 13% and can be applied to help with cracking etc. before proceeding with gesso.
I consider it essential to adhere fabric over wood panelsbefore adding gesso or a chalk-glue ground. What you propose may work, but as Istated above, please record all of this on the back of the panel. Any solvent-borne,non-oil containing varnish would cause the same concern (MSA, Shellac, Dammar,etc). Even with the acrylic dispersion layer, the MSA could be undercut using traditional, solventmethods. The conservator may need to use more complicated cleaning methods. Perhaps the work would be left unvarnished.