Friday, December 4, 2015
Friday, October 23, 2015
Here is a video of our trip with Mike Hibbard. Thanks again for being the quintessential steelhead guide. You can contact Mike at www.mikehibbardflyfishing.com
Trinity River Steelheading from Clay Hash on Vimeo.
Thursday, September 17, 2015
The Squared Stance
When starting from square one with beginning students using a squared stance, facing the target without dropping either foot back is a good idea. Why? The biggest advantage of this stance is its simplicity in relationship to the alignment of the casting arm. Without moving your body, you can easily attain an elbow-forward arm position throughout the casting movements. Such simplification of primary movements is important in achieving the consistency for which we strive and a building block for good form. Once good form and timing is achieved the squared stance is the preferred stance.
The Casting Side Dropped Back Stance
Another good option is the casting side dropped back position. This is often the second step for beginning casters once they have their elbow- forward arm position form down. If right handed, you drop your right foot back, as if preparing to throw a ball. It is recommended to start the students with the casting side dropped back 45 degrees. The main advantage of this stance is in developing timing.
With the casting side dropped back position you are able to watch your back cast to see when to start the forward cast. One thing to watch out for is that this stance may lead to rotating that side forward during the forward cast. This additional body turning sometimes rotates a caster’s arm and fly rod out of alignment, thus angling the fly line away from the intended direction. Having to realign your arm and rod for the forward cast can also complicate the movement, particularly if using an elbow forward half-throwing motion. So be aware and don't lose good form.
Although timing can be taught in various ways, it is said that most students, in fact, do learn timing best by turning to see the fly line straightening in back. However, it is probably best to have them drop the casting side back just enough to see the back cast, a peak so to speak, then return them to a squared stance when the timing has been corrected. Remember turning to watch a back cast is usually done when practicing, and seldom done when we’re out fishing. I heard the expression. “Watching your back cast is bad form, except in bear country”.
If you’re casting a slow full flexing action rod, like a bamboo or older graphite, opening up your stance can be used with a lengthened hand movement for better form.
How About the Stance for
How About the Stance forLong Distance Casting?
When it’s time to start practicing long distance casting it’s time to go back to dropping the casting side back. Watching the loops coming off the rod tip on a back cast is the best way I know to learn how and where to stop the rod butt to form small loops in a long line on the back cast. By this time, arm alignment should be fairly well ingrained. This open stance offers another distance advantage, inviting long hand movements for a wider casting arc.
The Casting Side Forward Stance
Occasionally I’ll see a person casting to a specific fish and attempting to get a really accurate cast, using a stance with the casting side and foot forward, rather than back. It is said that turning the casting side forward enhances accuracy by bringing the hand and arm that directs the cast into closer alignment with the eyes and the target.
It’s not a bad idea to start students with the grip and stance that works best for most people. If you are a beginner, try the squared stance, with your thumb providing support behind the forward cast. If you find yourself having trouble with timing, drop your casting side back enough to make it easier to watch your back cast.
If you are more experienced, I would encourage you to experiment with these grips and stances, considering the trade-offs in each change you make. Perhaps you will find something that works better with your cast than what you have been doing.
So, right now I'm about three quarters of the way to a minimum of six coats of varnish to apply to all exposed wood parts on the boat. Ugh! I'm four coats into it and all I can say is you have to be patient and take your time. You can't be in any hurry. There's lots of prep, masking and sanding to the process. But most importantly, is the actual technique involved with the applying of the varnish.
PreparationThe first thing I had to do was to mask off the painted sides. I purchased a special 3M Scotch Blue Painters Tape for Delicate Surfaces #2080. This tape can stay in place for 60 days. I used this to mask a line right under the gunnels. I then used 48" painters masking plastic and taped it to the 1st layer of tape at the gunnels. This protects the entire paint on the exterior of the boat.
I next masked of the interior floors areas and sides that are painted with Durabak truck bed liner. The tape doesn't stick real well to the Durabak but I did the best I could.
SandingThe Process. All the mahogany and oak parts on the boat have been coated with at least 3 or 4 coats of epoxy prior to starting the varnishing. The varnish job will be a minimum of 6 coats. I will work towards applying the initial 4 coats of varnish which will provide a solid varnish base coating. Once the 4 coats are applied I will need to do a real complete sanding of everything to make sure the surfaces are flat. It is necessary to wait for this heavy sanding as you need enough mil thickness to accomplish the flattening. Four coats should do it. Once the flattening sanding is done, I need to put on at least 2 or 3 finish coats of varnish. Sound pretty simple hey?
The initial sanding prior to the first coat of varnish and the next four coats is done using 220 grit sandpaper and/or a Scotch-Brite pad. I used 220 grit with a sanding block on the flat surfaces and the Scotch-Brite pad on the curved surfaces. I used the sanding block with the Scotch-Brite pads where I could.
Scotch-Brite pads come in various grits. I have primarily used the red pads (Fine about 300 grit). The Grey (Ultra Fine about 400 grit) will come into play on the final two coats. The sanding between the coats is mainly a scuffing to bond the next coat.
Sanding Reality - The main thing I have learned at this point is how the temperature of your workplace really affects the process. My shop has been getting down to about 45 to 50 degrees F at night. I keep an electric oil heater going in my finishing booth days and nights and have been able to maintain about 55 to 60 degrees F in the finishing booth. The main thing that the lower temperatures does is to delay drying time. The lower temperatures really only effect the time it takes to dry. My drying times between coats is running about 48- 72 hours. To be really dry it needs 72 hours. When is it dry enough?
Good question. You can "Hot Coat" varnish coats if the varnish is still soft without sanding. Sounds good doesn't it. I have been doing a sort of in-between. Let's call it a "Warm Coat". I've been letting each coat dry for about 48 hours and then using the 220 grit with a block to knock down the "nibs' and then block sanding with the red Scotch-brite pad. At 48 hours the coat is still soft enough the it clogs the sandpaper, but works well with the Scotch-brite pads.
To be able to sand with sandpaper the varnish needs to be hard enough to create fine dust and not clog your paper. In my case this will take a minimum of 72 hours, maybe longer. Being I am currently at my fourth coat I'm letting the 4th coat completely dry before sanding it flat.
VarnishingLet me just start out with, "Varnish is intimidating as hell". There are hundreds of articles on the web with horror story after horror story about applying varnish. There are 4 important rules for varnishing that I have gleaned from the web and from to talking with experienced painters. Here they are and believe me I learned them the hard way.
(1) How you treat the varnish in the can
(2) How you get the varnish out of the can
(3) The brush that you use
(4) Your brushing technique
How You Treat the Varnish in the Can
Don't shake varnish! Varnish should always be stirred, stirred slowly enough that you don't whip it into a froth. If you shake the can or stir too vigorously you will be incorporating air into the varnish. Air in varnish is bad. You must stir varnish if you are using satin varnish as it has flattening agents that must be thoroughly incorporated.
If you are using gloss varnish you do not need to stir the varnish other than to incorporate added thinner.
Decant Varnish into a Smooth Sided Container
Do not apply varnish directly from the supply can. If you dip the brush into the can and then "scrape off" the excess on the lip of the can you will send a cascade of frothy varnish back into the can. This froth will be picked up with the next brush load, carrying a cargo of air bubble to your varnished surface of the wood. Transfer the varnish from the can into a smooth sided plastic container.
Thin varnish prior to application. I learned this the hard way. Thinning a newly opened can is impossible since there is no room for the added volume of thinner. Further thinning in the can is subject to inaccuracies since you can't easily determine how much varnish remains in the can. Only by decanting the varnish into a separate container can you accurately add the appropriate volume of thinner. The first coat of varnish should be thinned by 20% to 25%. (This does not apply if you are applying varnish over sanded flattened and epoxied wood.) Subsequent coats should be thinned by 5% to 10%. Thin after you have decanted the varnish into the application container.
Remember, the whole point of thinner in varnish in the first place is to make it easier to spread. The varnish needs to be thinned to adjust flow-out to current temperatures and humidity conditions.
By thinning varnish you are simply adjusting the viscosity of the varnish. Added thinner makes the varnish easier to apply by reducing the viscosity so that it will flow out and level better, thus allowing air bubbles to float to the surface and pop before they become encapsulated in the curing film. Brush marks will also level faster when the varnish is properly thinned.
One thing that lower temperatures in my shop contributed to is a thicker application of varnish. It has made keeping a "wet edge" difficult. I placed my can in hot water prior to starting but it just doesn't stay warm enough. Thinning will help solve this problem.
Use a Natural Bristle Brush Made for Applying Varnish
A varnish brush should have a good "reservoir" so as to allow you to "flow-on" a good quantity of varnish before you need to return to the container for more. Here's a contradiction to what you may hear. Never use a synthetic bristle brush or a "foam brush", or a paint pad.
A good test of a proper varnish brush is to dip the very tip of the brush into mineral spirits. If the brush wicks the mineral spirits up into the bristles, its a good brush. A "Badger Hair" brush is often recommended.
The brushing technique is very important. The varnish should be applied by "flowing" it in one direction. Never brush back and forth! If you are right handed begin at the left of am imaginary area about 12" to 18" square. Make a single long stroke from top to bottom (across the grain). of your imaginary square applying light to moderate pressure. The bristles of your brush should flex slightly. They should not bend to the ferrule of the brush. Then, returning to the top of your initial stroke and using the same brush stroke, begin to drag from the top down. Once you have filled in your imaginary square, brush from right to left. from the dry to the wet (with the grain) to smooth and flatten the varnish.
Move the brush slow enough so as to not incorporate air bubbles into the finish. Continue in slightly overlapping pattern of brush strokes until you have covered the area. Tipping off in this fashion further levels the varnish and breaks any air bubble that may have become trapped in the finish. Again move the brush slowly. Brush only with the tips of the brush.
As they used to say in the TV show Dragnet. "Just the facts, Maam" Here's some Chironomid facts and Tips to get us started with Chironomid 101. It's an introduction to this important stillwater bug.
Chironomids are the food source eaten more often than any other. I attended Phil Rowley's Stillwater Scholl where he compared them to M&M's. You put a bowl of M&M's on a table and you just grab handfuls and keep eating. Trout do the same when they feed on chironomids. Let's look at some facts about chironomids.
- Larvae are available all season long, 12 months of the year
- The emerging pupae and adults are available two times a year. They become a main food source for stillwater trout in;
(2) August through October
- With that said about the pupae, chironomid larvae or "bloodworms" are available for trout all year long and are a main food source for all stillwater trout all year long.
- Bloodworm patterns are a good choice during low light conditions and after recent windstorms.
- Chironomid Pupae patterns can also be used throughout the season as they have elongated emergence cycles. Trout will often take chironomid pupa patterns regardless of the season.
- When trout are found in water 20 feet or less, use a floating line and slip indicator. Start with suspending the flies one to two feet off the bottom. make sure you are just above any weeds.
- Experiment by moving the fly up one foot at a time to locate feeding fish. Sometimes 6 inches can make a difference.
- In water 15 feet or less also try using use a floating line and a long leader. This is called the "Naked Technique". Use a fly line like the Rio Indicator Line that has a orange 18" tip which will be your indicator. Takes will be seen as a movement by the orange tip rather than felt.
- When using the "Naked Technique", your leader should be 25% longer than the water is deep.
- When using the "Naked Technique" you must balance 4 variables.
(2) Retrieve Speed
(3) Pattern Weight
(4) and the time to allow the pattern to sink
- Wind drift larva and pupa patterns by quartering across the wind and allow the ripple to swing through the water column. Watch the orange tip of the fly line for any movement.
- When fishing for chironomids in water over 20 feet deep use a full sink line, a type VI or VII and retrieve the fly vertically through the water column. Cast only the amount of line and leader as the water is deep. Count the flies down and use a shorter leader.
- Remember that when presenting imitations for the chironomids larva and pupa, the retrieves must be so slow that they are almost static.
- When fishing on the surface, pay attention to whether the trout are taking skittering or stationary adults. Present your flies accordingly.
- When trout are taking chironomids on the surface consider using a soft hackle retrieved slowly through the area of rising trout.
Chironomid Larvae Patterns
Size - 3/8" to 1" - Hook sizes #8 through #16 - A size #12 2x long is a good average size larva pattern
Shape - Slender, segmented and worm-like
Color - Many species are able to generate hemoglobin in order to survive in oxygen poor conditions.
- As a result scarlet red or maroon coloration is common.
- Larva can generate hemoglobin as conditions dictate which affects coloration. Candy Cane schemes of red and green are common on some lakes.
- Olive and bright green are other common colors
Size - 3/8" to 1 inch, hook sizes #8 - #18
- Chironomid tend to be larger in mud bottomed, algae type lakes. Sizes #12-#8
- In clear water lakes, Chironomids are smaller $10 -#18
- A #12 is a average pupa size and a good place to start.
- If trout do not appear to be selective to size try using one size larger so your fly will stand out from the naturals.
- Many pupa patterns use scud pupa hooks to suggest the profile
- Most patterns have a bulbous thorax, slender segmented, tapered abdomens
- In clearer water or on lake with much angler pressure consider using slim realistic patterns.
- On dark days, use dark patterns.
- On bright days use bright patterns
- Pupae use trapped air and gases to aid pupal ascent and the adult transformation. This gives pupae a distinct silver glow.
- Pupae can change color as they absorb or replenish trapped gases
- Chironomids pupae have prominent white gills. The Chaoborus pupae do not.
- Use Super White beads in algae stained waters. They tend not to fouls as much as synthetic or natural materials do.
Size - The adults are smaller than the corresponding pupa.
- Sizes #10 - #16 covers most adults
- Chironomid adults do not bite like mosquitoes.
Tuesday, May 5, 2015
Well, after 7 months of dedicated work, countless hours of sanding and layers of epoxy and marine spar varnish, I was able to find out if my new handmade drift boat floats. It did, and it did so better than I had dreamed of. Let me explain. I had a few concerns prior to launching the "Barca de Trucha", (Trout Boat). Little nagging questions.
First, the boat is 17 feet long from the bow to the stern. This is about 18" longer than my Hyde Low-Profile. It is also wider by about 6 inches, I was concerned that it would be a little to big for the Lower Yuba. An air craft carrier in a small bay so to speak. It isn't. It floats like a leaf, lighter and more responsive than my Hyde. Being so, makes it feel smaller, I always referred to my Hyde as a sports car. Nimble and quick to the response of the oars. The "Barca" is just as quick if not quicker.
Second, it seemed to be a work of art more than a working drift boat. Once I floated it down the river it just felt right. It will be a working drift boat come what may, scratches, dings, scrapes, it will be a fisher.
Third, Rope Seats? The rope seats look real cool, but what would they feel like, Uncomfortable? Pinching your rear? Well, definitely not your padded plastic seat. They felt fine. I wore lightweight shorts and was comfortable. The ropes will need to be tightened until they stretch out properly, but other than that definitely a passing grade.
The first float came with a sense of pride. Every piece of wood, every screw, every coat of epoxy and varnish was placed with care and thought. There is a sense of pride that is sort of like catching a fish on a fly rod you've built with the fly you tied. Now I can add "the boat I built". I've always been a craftsman and this is just another extension of that. I take pride in what I do, I do was I say, I keep my word and promises. My Mom and Dad raised me that way. This is just another mission accomplished, a plan come to fruition. I thank my Mom, Geri, for encouraging me to pursue my passions. This is is just who I am.
I am looking forward to many years of fishing in this new boat and coaxing many fish to the net. More stories, more time with good friends and family on the rivers of the west. It was worth all the time and effort! No regrets!
Photos from Launch Day
Monday, April 20, 2015
Photo Gallery of the Kingfisher
Tuesday, March 24, 2015
Now that I've got the boat upside down, all prepped and masked I'm ready to start painting the hull. I'm using a one part paint. It is a polyurethane enamel. It will provide a hard protective coating and with super high gloss and has very good color retention and is durable. The paint was manufactured by Blue Marine. I decided on their Super White Color.
- Blue Water Marine Paint, Super White
- Half gallon plastic container
- Stir stick
- Toluene for thinning - 1 ounce per quart. 5-10%
- 1 pint plastic measuring cup
- Excellent quality brush with soft tips
- 6" foam roller and frame
- Disposable paint tray
- Clean Rags
- Tack Cloth
Time for Painting
Here's how the first coat is done.
- The fist thing to do is to load the roller with paint and then roll it repeatedly on the roller pan to have a loaded foam roller but not overloaded. I count to at least ten strokes each time I load or reload the foam roller.
- Starting at the transom and working to the left I roll out the paint working to the left with vertical stokes. Press hard on the roller to squeeze out all the paint. If you don't the paint will go on too thick. I work to the left until I am loosing coverage with the paint.
- I then work the roller horizontally to spread the paint out evenly to the left.
- I finish this application with a vertical roll at the left edge to create a straight vertical line. You will end up with a vertical line with dry surface on the left of the line and paint on the right.
- One roller load covers an area about 24"tall by about 1 foot wide.
- The paint will have lots of air bubbles in it and should be a thin even coating.
- Put the roller down in the tray and stat brushing from left to right. Start at the top and brush horizontally.
- Place the brush on the dry portion of the vertical line on the left and brush to the right with a light touch.
- Lift the tips off the paint at the end of each stroke. Feather the paint out.
- Continue the same method from top to bottom using horizontal passes.
- Start back at the top and repeat.
- That's it. Repeat the same steps all the way around the boat, move quickly and efficiently and keep a wet edge.
Prepping for the second coat
Just repeat the same process as the first coat.
SummaryI'm really happy with the paint job. It's not perfect like a spray finish but it has that hand made look to it. A few brush marks here and there but I think a job well done.
Sunday, March 8, 2015
It’s time to add some presentation casts to your arsenal. The three casts that are the basis of good presentations are the "Wiggle Cast", the "Reach Cast" and the combination of the two, the "Wiggle Reach Cast". We can use these presentation casts to start “Fishing around the Clock”. This is a descriptive term for the ability to present the fly from any angle to a fish in moving water.
Right now on the Lower Yuba River we are starting to get decent hatches of PMD’s. Most of the time you’ll be presenting PMD duns and emergers on water that is at least somewhat smooth. This requires delicate rods, light lines and long leaders. A 5 weight is a good all around choice. Extend your leader to 12 to 15 feet long which includes tippet at least 2 to 4 feet long. Use delicate tippets like 5x. Use a "Duncan Loop" or an "Open Mono Loop Knot" to attach your flies. I like throwing "Double Dries, using a dun pattern and trailing an emerger about 18" or 20" behind. If the fish are really spooky I clip off the trailer.
You will need to present your flies without alarming your prey. You don’t want the fish to scatter from your line, leader and fly sailing over their heads and smacking down onto the water in their cone of vision. To be successful you must put the fly right onto the trout’s feeding lane without alarming them. How do we solve this problem? This is where putting "Fishing around the Clock" really pays off.
Think of your position in relation to the trout you are stalking as a position around the clock with the trout in the center (See Illustration Above). You will be somewhere around the outside of the circle at a moderate casting range. Not too close, not too far. There is probably a best place to make your presentation. Your position is critical. The type of presentation cast you will need to make will differ from what position around the clock you are stationed.
Presenting from Downstream
If you‘re in the downward third of the clock 4:00, 5:00, 7:00 & 8 o’clock, you will be making your cast to the trout up and across stream. This will require an slight upstream, “Reach Cast” or more advanced casts, the “Positive or Negative Curve Cast”. We'll get to the Curve Casts at a later time. Using either of these casts will enable the trout to see the fly first, with the leader just seconds after it has decided to take your fly. This is the plan anyway. A word of caution, the downstream position is the hardest to accomplish a delicate presentation over selectively rising trout.
If you’re positioned in the 6 o’clock position this is even harder. You will need to present the fly in such a way that the leader attached to the fly doesn’t land right on the trout's head. As described above, it’s like throwing a small rock on the trout’s head, no good. You need to use a big “Reach Mend” to have the leader angling towards the bank which will enable the fly to be presented first.
Presenting From Directly Across
When you find yourself in a position to present your fly from directly across from the trout, this would be from the 3:00 or the 9:00 position you will want to add the “Reach Cast”. Aim your cast directly at the place you want the fly to land, ideally two to four feet upstream from the trout. As the straight line cast is delivered and starts to unfold towards the target, tip the rod over in the upstream direction and "reach" upstream. This is really an “Aerial Reach Mend”. When the fly lands, follow the drift with the rod tip. This will keep the fly from dragging and the fly will enter the trout’s window ahead of the leader and line.
Presenting From Upstream
When presenting your fly to trout feeding on mayfly duns and emergers, probably the best position to take on smooth water conditions, is at an angle upstream from the trout. This would be from 1:00, 2:00, 10:00 and 11 o’clock. It definitely works best when you’re off to the side a bit. This is where the “Wiggle Cast” really excels. Aim about two to four feet upstream from the feeding fish. As you deliver the cast wiggle or wobble the rod tip back and forth horizontally as the line lays out. This will result in the line landing on the water in a series of serpentine curves. As the fly floats downstream toward the trout, the curves will feed out for a frag free drift.
Once you've mastered the "Wiggle Cast" you can add the "Reach Wiggle" which is doing both. This works especially well if you have heavier currents between you and the targeted trout. To execute the Reach Wiggle Cast you deliver the forward cast as normal, as the forward cast is furling out toward the target, tip the rod upstream for the reach mend and at the same time add the horizontal wobbles of the tip to add wiggles to the line. This may take a little time to get down, but it is worth the practice.
If the trout refuses the fly on either of these presentation casts, tip your rod toward the side or the bank after it has passed the trout. Let the current swing the fly well away from the trout before you pick up to cast again.
Presenting From Directly Upstream
When presenting the fly from directly upstream from the 12:00 position you typically only get one chance. If the fly is refused the leader and then the line follows and you can’t lift them off the water without spooking the run. You really want to avoid this presentation if possible. If you can't move more to the side and this is your only play, you can use the wiggle cast from this position.
The “Puddle Cast” is more accurate then the Wiggle cast and you may want to try it. The “Puddle Cast” is executed by throwing a high inclining cast on the forward stroke and then immediately dropping the rod tip. This will result in killing the forward momentum of the forward cast and cause it to puddle down to the water in a series of “S” shaped curves. Again if possible, it is best used from the 12:30 to 1:00 or the 11:00 to 11:30 position and only from the 12:00 position if absolutely necessary.
Learn the different presentation casts are when and where to use them and you’ll soon be catching those difficult trout.
Thursday, February 19, 2015
Do both and you will soon become a really proficient fly caster and throwing great loops.
Alternately, if you start with your rod tip high with heap of slack on the water in front of you, you have to move the fly rod quite a way to take all that slack out. You’re likely to run out of casting stroke causing the loop to collapse on your head. This is bad!
The casting arc can be thought of as the angle the rod or the rod butt travels through each stroke. Think of a protractor or a pie of pie.
The more efficient and crisper you can make the stops, the more effective and efficient your loops are going to be. The straight line path of the rod tip and a crisp efficient stop is what governs loop shape. The crisper and more complete that you can make the rod stop, the better your loops are going to be.
Practice with the minimum power, maintaining constant acceleration of power and then apply crisp, tight stops and you will get really good loops.
Monday, January 19, 2015
- Flip the Boat over
- Sand or use a cabinet scrapper to prep the bottom of the gunnels
- Flow coat the underneath side of the gunnels once they are prepped.
- Run a fillet of epoxy peanut butter at the junction of the gunnels to the sides.
- Run another flow coat of epoxy on the underside of the gunnels and coat the fillet
- Sand and flow coat the rounded transom with it's last coat of epoxy
- Finish sand and the underside of the gunnel, the sides and the rounded transom progressively to 220 grit.
- Mask off the gunnels and the rounded transom to get ready for painting the hull.
Flipping the BoatI enlisted the help of three friends to flip the boat over. It has been residing right side up on a 4' x 10' table with rolling casters. The first task was getting the boat on the floor of the shop. I worked the boat to one end of the table. Imagine launching a boat from a trailer. Once I got the stern on the floor we just lifted the bow and slid the table out from under the boat. I had furniture blankets on the floor. The gunnels are coated with at least two coats of epoxy but I still wanted to have blankets under anything on the boat that contacted the floor. The steps went sort of like this.
- Place furniture blankets on the floor in position so that as the boat is lifted up on one side and supported on one gunnel (half-way flipped) the blankets are under the spots of the center section of the gunnel. Pretty much in the center of the boat at the oar locks.
- I also placed furniture blankets that are folded up in multiple layers under the stem and transom so that when it is flipped it is cushioned under these areas.
- Two people are on one side of the boat and two are on the other.
- The boat is lifted by two people so it is resting on one gunnel, basically half flipped. The other two people help support the boat in the vertical position.
- It is then tilted over to the upside down position and supported by the two people on the other side of the boat.
- Once the boat is flipped and is resting on the floor, lift the bow up and slide extended sawhorses, about 5 1/2' long, underneath so the bow is supported by both gunnels. Cover the tops of the sawhorses with padded materials. I used old towels.
- Repeat the same procedure for the stern of the boat.
- The boat should now be flipped upside down and resting on the padded extended sawhorse.
- Ready to go to work.