ted brewer explains sailboat design

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Ted Brewer explains sailboat design

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Ted Brewer: A Stand-Up Draftsman

Posted by Fiona McGlynn | BWI Award-Winning Articles , Sailor Profile

Yacht designer Ted Brewer gazes back over a storied career.

T ed and Betty Brewer’s living room is warm and inviting. Two harpoons hang on teak-colored walls, and a model boxcar sits on the shelf alongside other artifacts marking a life well-lived. A picture window overlooks a baseball diamond across a quiet street in Agassiz, British Columbia. With its neat buildings and carefully trimmed yards, the town feels bricked with charm and mortared with apple pie. But just outside the window, above the baseball diamond, the craggy, glaciated peak of Mount Cheam towers, a reminder of the wild Coast Mountains and North Cascades ranges that embrace the community.

“I’ve never been a sit-down draftsman. I’ve always been standing up at the drafting board,” says Edward “Ted” Brewer, the world-renown yacht designer who worked on two America’s Cup contenders and designed 260 boats including yachts built by Aloha, Morgan, Nimble, Union, and Whitby.

“For many years it was standing up at the drafting board with a cigarette,” says Betty.

“Yeah, too many years with a cigarette,” Ted agrees, leaning back in a sage-green armchair with extra foam padding. “No more cigarettes.”

At 87, Ted no longer designs or smokes, but he tells stories with his whole being, arms thrown up in amazement, voice soaring high with incredulity, mouth crinkling with infectious laughter. A mischievous twinkle in his eyes reveals a certain boyish quality that belies his grey hair. On his left forearm, a weathered tattoo takes him back to his youth, roaming the Navy docks in Hamilton, Ontario, learning to sail from his father’s veteran friends.

“By the time I was 15, I was proficient at rigging, rowing, and sailing, and I was allowed free run of the Navy’s 14-foot dinghies and 26-foot whaleboats. I could go down to the Navy base in Hamilton and sign out a 27-foot sailboat on my own account. My girlfriend, her girlfriends, and my buddies would all be there. We’d get the boat rigged and ready and out we would go.”

When he was about 15, Ted and a friend bought their first boat.

“We coughed up 55 dollars for Quest , a 16-foot ship’s gig that someone had put a long wood fin on and an overly heavy, gaffy rig.” A year of scraping, painting, and replacing rotted planks, and Quest was ready for her maiden voyage. After ballasting her with 400 pounds of sandbags, they cast off into afternoon squalls. They were soon knocked down, and panic rose as water came over the lee hull. The two boys managed to fling the sandbags over the side and eventually right her. Upon being towed in, a photographer appeared on the scene, and much to Ted’s chagrin a photo of their woeful yacht made the paper the next day.

It wasn’t long after that he got the tattoo: an anchor with Quest stenciled beneath it.

Downstairs in Ted’s studio, half- models and photos of some of his hundreds of designs cover the wood-panelled walls. Two drafting boards hold metal weights or “whales” (aka ducks), a handful of pens and pencils, articulating table lamps, cardboard blueprint tubes. These are the tools of a traditionalist; Ted has always preferred drawing by hand to using CAD software.

Even as a child, he liked to draw. He would doodle Navy boats in the margins of his school papers where, despite being the youngest in his class, he earned top grades, at least until high school, when boredom set in.

“I really goofed off…I quit school to get a job as a Class 4 electrician at the steel company in Hamilton.”

During one night shift, Ted read a military recruiting advertisement in Liberty magazine. The next morning, he went to the armory and signed up.

“I didn’t get home until almost 10 a.m. When mum met me at the door she asked if I had to work overtime again. I said, ‘No, I just joined the Army,’ and I caught her before she hit the floor!”

Ted survived the grueling Army boot camps, and by 1957 he’d made lieutenant. But he remained restless, and one day, his company commander finally suggested that he pursue his passion for boating. “He knew I loved boats. I resigned my commission and got a job in Toronto as a yacht broker with George Cuthbertson.”

Cuthbertson, who would go on to become the first “C” in C&C Yachts, at the time was building Inishfree , a 54-foot wooden ocean racing yawl. Not long after joining the firm, Ted asked if he could accompany Dick Telford, the yacht brokerage firm’s boatbuilder, to see Inishfree under construction. When he saw the yard and spoke with the builders, Ted was struck with yearning.

“I thought, ‘Oh god, this is what I want. I want to design boats and build boats.’ ’’ Encouraged by Telford, Ted enrolled in a yacht design course at Westlawn Institute of Marine Technology. He’d almost completed it when he heard that Alfred Edward “Bill” Luders Jr. in Stamford, Connecticut, was looking for a design assistant.

“With Dick’s blessing, I applied for the job.”

“He doesn’t stand for very long,” Betty says, gently ushering Ted over to an office chair. Seated, Ted reaches for the computer mouse, one of few visible concessions to modern technology. Above the desk is a black-and-white photo of Bill Luders’ 40-foot Storm flying a spinnaker. Tucked into a corner of the frame is a photo of Luders himself, in a pullover and collared shirt.

In 1960, at the age of 27, Ted started working as Luders’ assistant, basically a second-in-command in the shipyard. He’d visit each department daily to see what was happening, problem-solve, and then head for the drafting room, where Luders would give him sketches to turn into a working drawing. At the end of the workday, Luders and Ted would sit in the office, smoking, and mull over designs and construction work. Often Ted would ask for Luders’ advice on his own designs. “He didn’t look at me as competition,” Ted says.

While at Luders, Ted worked on two America’s Cup boats. Weatherly , a Phil Rhodes design, which they modified, went on to win the 1962 regatta, and Luders earned the commission to design, and build a 1964 contender, American Eagle . Though American Eagle was initially the “bird to beat,” winning 20 out of 21 races in the June and July trials, by the end of summer Constellation , designed by Olin Stephens, had pulled ahead and won the right to defend the 19th America’s Cup.

By 1968, the shipyard business was foundering, and Luders closed Luders Marine Construction Co., 60 years after his father had founded it. Ted and Luders remained close until Luders’ death in 1999.

“Bill Luders was my boss, my teacher, and my great friend,” Ted says. “He was like a second father to me. I truly loved the man.”

After Luders closed the yard in 1968, Ted moved to Brooklin, Maine, to hang out his shingle. He bought an old hotel from the 1870s, “a weird place. It had eight or nine bedrooms, and only one bathroom. My first office was in the hotel dining room.”

There, he developed a design for a client who sailed on Lake Champlain and wanted a boat that would go well to weather. The boat was eventually named Black Velvet , and at the boat show in Annapolis, Kurt Hansen of Whitby Boat Works saw a photo of it and said, “I want a boat just like that.”

But as Ted began working with Whitby Boat Works, he discovered Hansen had some ideas of his own. Though Black Velvet was a fin keel, Hansen insisted on a full keel . “I wanted to at least cut it away and make the rudder separate. But no, it had to be full keel.”

At a time when full keels were the gold standard for cruisers, Ted often found himself attempting to sway owners to incorporate a fin keel’s windward sailing advantages.

“I felt the ideal was a fin keel with a skeg hung rudder behind it…If a client w anted a full keel boat, I’d cut away as much of the keel as I could…When he complained, I’d have to add a bit back.” This “Brewer Bite” would become one of Ted’s signature design features.

The Whitby 42 became an enormously popular design, selling over 230 hulls, and according to Ted, “was what established me as a production boat builder, designer.”

In 1976, Morgan Yachts approached Ted to work with Jack Corey, head of Morgan’s design staff, on a 36- to 38-foot fast cruiser. Ted recalls taking the Morgan 382 on its first sea trial. What started as a great day for a sail quickly descended into inky black skies and a lightning storm, with strikes as close as 50 yards from the boat. Though frightful, the boat emerged unscathed, perhaps the beginning of a lucky streak that would see 400 Morgan 382s built between 1977 and 1981.

Ted rests a forearm on the desk and gazes up. Centered above the desk is a large-format color photograph of a ketch flying two rainbow spinnakers over turquoise water. This was Mystic , which he designed for Marvyn Carton, who became a lifelong best friend. Built of aluminum, Mystic was launched and sailed through the Great Lakes to Europe. Ted sailed the boat with Carton in a Transpac that started slow and became a wild ride.

“We’d be going down waves doing 17 knots. Almost everybody on board was seasick. We roared through for about six or seven days of this storm. All the time Marv’s listening to the radio, and we’re hearing about crews that are out with sickness, broken this and broken that, and boats turning back. But we were on a big custom cruiser.” Not only did they finish second in class, Carton celebrated by serving the crew a 55-gallon-drum of Mai Tais and flying all their wives and sweethearts to Hawaii to join the party.

One day in 1988, Ted, living in Anacortes at the time, was driving home when he spotted a man on a BMW motorcycle.

“I owned a BMW, brand new, and so I followed him home, my big black dog on the seat beside me, and pulled into his driveway. He came out very suspicious.” Once Ted had introduced himself, the two men bonded over motorcycles, and pretty soon, the fellow introduced Ted to his daughter, Betty.

“She had just had a divorce, and I was winding up a rather disastrous marriage, so I asked her for a date to go sailing. I had rather a fancy little yawl, one that I’d designed, a Nimble 30,” Ted says. Betty, who at that point had sworn off men, was taken with Ted.

“I was definitely swept off my feet,” she says. After marrying in 1988, Ted and Betty eventually moved to Gabriola Island in 1999, where Ted designed custom yachts, sold plans, and wrote for magazines, including Good Old Boat . From 1998 to 2003, Ted was a contributing editor at Good Old Boat . He wrote humorous stories in “Fireside chats with Ted Brewer,” divulged lessons on cruising etiquette, and shared his love and knowledge of boat design.

Though he often wrote highly technical articles, Ted liked to have fun with his topics. In the July/August 1999 issue, in an article called “Brewer by the Numbers,” Ted discussed different ratios and terms used by yacht designers. Amid LODs, LOAs, LWLs, CBs, and CEs, Ted introduced a new ratio, the Comfort Ratio (CR), a formula that indicates the speed of the upward/downward motion of a boat in waves and swell. The lower the ratio, the more uncomfortable the ride.

“People were coming up with all of these sail area displacement ratios and this and that ratio. I thought, well there’s one ratio that nobody’s ever thought of, a comfort ratio. I’ll work one out,” he says. “So, I diddled around and came up with this crazy comfort ratio, and it was a joke and I published it, and it took off like a rocket. It does have a basis in fact, but I thought it was a joke.” The CR ratio remains in use to this day.

In addition to writing articles, Ted also authored three books, Understanding Boat Design , Cruising Yacht Design , and Ted Brewer Explains Sailboat Design .

These days, Ted no longer draws, but he still sells boat design plans to boatbuilders around the world at TedBrewer.com.

“His babies are everywhere,” says Betty. “When we were sailing, he would pick up the binoculars and he would look and look and say, ‘That’s one of my babies!’ ”

Some of Ted’s boats have also retired. No longer racing, Weatherly and American Eagle are in the America’s Cup Charters fleet in Newport, Rhode Island, where sailors can experience the golden age of America’s Cup racing. Other boats have had less dignified endings. Ted points to a model boat in a glass case and says, “I’ll tell you where that is right now. That’s 200 feet underwater off the coast of Machias, Maine, with a cargo of marijuana.”

Some people find time heavy on their hands when they retire, but Ted has always pursued interests including folk music, American Civil War books, and model trains. Nor are these always half-measure hobbies; at one point he had a couple hundred feet of railroad in the backyard, and to this day he sells plans for model railroad buildings and bridges online at BrewerPlans.com.

Recently, he has become an avid stock investor. He wakes up at 5 a.m, and with a coffee in hand, he checks the stock markets before going downstairs to his computer to “make any buys, sells, and trims” and answer email inquiries about his boat designs.

Retiring is in some ways like crossing a finish line, a time to reflect on achievements and legacies. Ted’s career has been extraordinary, and it’s clear that he relished every tack, jibe, and sail change. But most important to him, it seems, are the people who mentored and influenced him: George Cuthbertson, Bill Luders, Marvyn Carton, and Dick Telford among others. You need only look around his studio, where seemingly every square inch of wall space is dedicated to a boat or a photo of a loved one.

As Ted works at his computer, cane propped against one knee, Storm and Bill Luders watch down from their frame.

“The last race we ever sailed together was in 1967,” Ted says. “Bill had been at the helm two hours and said, ‘Boys I need a rest, I’m just getting weary here, somebody take over.’ Everybody volunteered and he said, ‘No, we need the best at the helm, come on, Ted.’ I drove her to within a half mile of the finish line and I said, ‘Here, Bill, take over now.’ He took her across the finish line. We won. We were not only first in our class, we were first overall. The boat was that good.”

About The Author

Fiona McGlynn

Fiona McGlynn, a Good Old Boat contributing editor, recently sailed from Canada to Australia. This past summer, she was at the start line in France, reporting on the 2018 Golden Globe Race. Fiona runs WaterborneMag.com, a site dedicated to millennial sailing culture.

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8 Bells for Ted Brewer

You don’t have to spend much time in the sailing world to recognize it is filled with some of the planet’s most creative, good-spirited and generous people. Must be something in the wind . . . or water.

We lost one of those people on September 30—yacht designer Edward “Ted” Brewer, who died at home in Agassiz, BC at the age of 88.

Practical Sailor readers will recognize Ted as the designer of the Whitby 42, a quintessential cruising ketch that would launch his career as a designer. Along with partner Bob Wallstrom, he produced over 100 custom and production designs.

Cruisers still wrestling over the fin vs. full keel decision can credit Ted for helping to open that can of worms. The gradual chipping away at the full keel cruiser’s underbody that emerged in his early designs earned the nickname, “Brewer bite.”

At the advice of his army company commander who recognized his passion for sailing, Brewer resigned his commission as lieutenant and enrolled in a design course from Westlawn Institute of Marine technology. Renowned designer Bill Luders soon took him under his wing and became a mentor for Ted. Together they worked on two America’s Cup boats: Weatherly (1962) and American Eagle (1964), which are still sailing today. One need only compare two other Brewer boats out on the water today — the budget friendly Nimble 30, and the 70-foot schooner Tree of Life — to sense the great range of his abilities as a designer. Fittingly, his first date with his wife Betty, whom he married in 1988, was aboard a Nimble 30.

Like many in my field, my own connection with Ted was as an endless fount of knowledge. In my early days as a sailing writer, he was one of a few designers who would pick up the phone and patiently explain the unique design features of a particular boat I was reviewing.

He wrote three books, “Understanding Boat Design,” “Cruising Yacht Design,” and “Ted Brewer Explains Sailboat Design,” and the first is always within easy reach on my bookshelf. If you are looking for your first cruising boat, the ten bucks you spend on “Understanding Boat Design” will be money well spent. At Practical Sailor, we still use his formula for “comfort ratio,” to get a preliminary picture of a boat we’re reviewing. Initially a tongue-in-cheek exercise for Brewer, the formula does, in fact, offer insight into the performance of many boats.

In the 1970s, Brewer helped pioneer the now popular radius bilge method of forming a metal hull, eliminating the hard chines that characterized metal boats of that era. His emphasis on simplifying construction in all materials made his boats popular among DIY builders, which inevitably led to less-than-perfect outcomes. Rather than staunchly defend his own work, or emphasize the impact of unsanctioned modifications, he candidly discussed the pros and cons of his designs, how it had been executed, and how it could be improved.

For those wanting to learn more about Brewer’s designs, three of our favorite Brewer designs are featured in our online archives—the Brewer 12.8/44, the Morgan 38/382, and the Rob Roy 23. These are among the many, many Brewer boats out sailing today, keeping his spirit alive.

He will be sorely missed.

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I never knew Ted personally, but he gave me one of the most valuable gifts anyone can receive; his time. You see, I was a neophyte writer at the time, looking for a few plugs for my book (this was in 2009). I contacted Ted, not expecting a response. Right away, he said he’d be glad to review the book, which he did, along with providing an endorsement. A wonderful gift from a kind, generous genius. Thanks again, Ted.

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Ted Brewer explains sailboat design

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• Sailboat Guide

Edward S. Brewer

Canadian born Ted Brewer has designed over 260 boats in his career. He has worked on designs that have spanned stock plans for home builds, to successful America’s Cup boats. Some of his better known production designs include the Whitby 42, Cabot 36, Morgan 38, as well as the Pan Oceanic 38, 43, and 46.

Perhaps his most famous trademark is the “Brewer Bite”; what looks like a bite taken out the keel profile of a full keel boat to give it some of the windward advantages of a fin keeler.

From Designers website: Ted was born in Hamilton, Ontario in 1933. In 1957 he was a Lieutenant in the Canadian Army and resigned his commission to return to his first love, boating. He was lucky to get a job as yacht broker with George Cuthbertson, who later founded C&C Yachts and, at the same time, Ted was working on the Westlawn School of Yacht Design course. Ted learned a great deal about design from George and also from Dick Telford, a boat builder, a very capable designer, and a good friend who also worked there. During his years with Cuthbertson, Ted was racing aboard 8 meter yachts in Lake Ontario and sailing his own small boats up and down the lake. Then, in late 1960 he had a chance to move to Connecticut and work for A. E. “Bill” Luders Jr. as assistant designer. While with Bill he worked on everything from 5.5 meter sloops (about 50 of them), to 12 meter America’s Cup racers, ocean racing yachts and power boats. He assisted in the modification of WEATHERLY for the successful 1962 Cup defense and did all the drawings for the Bill Luders’ designed 12 meter yacht AMERICAN EAGLE, and supervised her construction. In 1967 Ted moved to Brooklin, Maine to hang out his shingle but still did all of Luders drafting, including the conversion of EAGLE to an ocean racer. In partnership with Bob Wallstrom he produced over 100 custom and production designs, from 18’ catboats to the exquisite 62’ teak ketch TRAVELLER III and, from the sublime to the ridiculous, even a 64’ 3 masted schooner approved by the USCG for daysailing 125 passengers. In the mid ’70s Ted pioneered his, widely copied, radius bilge method of building metal hulls and, over the years, designed dozens of steel and aluminum craft from 30 to 100 feet. One of these yachts, GLOBE STAR, circumnavigated the globe in ‘81 without the use of sextant, compass or instruments of any kind. From 1970 to 1979, Ted worked in partnership with Bob Wallstrom, who had a hand in many of the designs during this period. In ‘79 Ted moved to Washington state and, in the next 20 years, produced 160 more designs including the beautiful Whitby 55 ketch, the handsome 45’ schooner SOPHIA CHRISTINA and the fast and powerful 70’ schooner TREE OF LIFE, winner of the 2000 Antigua Race Week. In 1999 Ted and his wife Betty moved to Gabriola Island, B.C. Where he donated time, for several years, lecturing at the Silva Bay Shipyard School. They moved to Agassiz, B.C. In 2006, where he still sells stock plans and writes for Good Old Boat magazines. In addition to completing over 270 designs, Ted has written three books; one of them, ‘Understanding Boat Design’, is now in its 4th edition and has been a popular design primer for 30 years. ‘Understanding Boat Design’ by Ted Brewer Available at www.tedbrewer.com or at any number of book sellers. Pub: International Marine/Ragged Mountain Press; 4th edition (November 1, 1993) ISBN-10: 0070076944 ISBN-13: 978-0070076945 Ted has raced and cruised in waters from Hawaii (3 Trans-Pacs) to the eastern Mediterranean, and from the Caribbean to the Great Lakes. Editors addendum: I want to express my appreciation to designer Ted Brewer, and his wife Betty, for providing many valuable corrections, and additions, including a number of terrific drawings of his many boats. I’d like to add that one can purchase full sized drawings of most of his designs, as well as his book from his web site. I believe you can also purchase any of his past articles from the Good Old Boat website. (goodoldboat.com) Thanks again, Ted and Betty.

51 Sailboats designed by Edward S. Brewer

Morgan 383/384

Quickstep 24

Hullmaster 27

Oceanic 46 (Brewer)

Lazy Jack Schooner

Brewer 12.8

Mariner 47 (brewer).

Islander 48C

Three Seas 45

Cape Carib 33

Goderich 35.

Morgan 32-2/3

Pacific 42/45.

Nimble 25 Arctic

Nimble kodiak 24, nimble wanderer ms.

Kaiulani 34

Three Seas 40

Constellation 44

Cape North 43

Pan Oceanic 38

Olympic Adventure 47

Kanter Atlantic 45

Sun Seeker 23

Hullmaster 31

Mao TA 42/44

Olympic Adventure 42

Douglas 31/32.

Kaiulani 38

• About Sailboat Guide

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You may need to work out some of the ratios for the boats you are considering for purchase from the available information but the formulas are simple and can be handled by an inexpensive scientific calculator. The one I use in my design business is a Sharp EL-520, almost old enough to vote, and cost less than $25 new, too many years ago.

LENGTH: Different designers and builders have different ways of expressing Length. Length On Deck (LOD) is the true length, omitting rail overhangs, and is the honest way to describe the length of a boat. More usually, you will see it as Length Over All (LOA) which may be the LOD if the builder is honest but often includes rail overhangs, anchor sprits, bowsprits and even boomkins if the builder is trying to sell a "larger" boat.

LENGTH WATERLINE (LWL): This is an important figure to know as it more closely represents the usable size of the yacht than LOD or LOA, and it is a necessary figure in some of the other calculations. LWL is the length of the vessel as measured from the bow ending of the waterline to the stern ending. It should not include any rudder tip that may stick out past the aft end of the hull proper. The LWL will increase as the yacht sinks into the water with the added weight of stores and equipment over the years.

BEAM: This is the greatest width of the hull and is often expressed as Beam (Max). Beam WL is the width at the LWL and is very useful to know, but not readily available as a rule.

DRAFT: This is the depth of the hull from the LWL to the bottom of the keel or fin. Like the LWL, it will vary with the weights of fuel, water, stores and the equipment added over the years and is usually somewhat more than the original designed or advertised draft. When you run onto a 4' deep rock in a boat with 3'9" draft it is always nice to know that it may not be your fault.

DISPLACEMENT: If you weigh the boat on a scale, that is her actual (not advertised) displacement and it is the weight of sea water that she will displace when she is afloat. Most designers figure displacement when half loaded (the boat, not the designer) with stores, liquids and crew.

Displacement can be expressed in pounds, long tons or cubic feet; one ton = 2240 pounds = 35 cubic feet of sea water, at 64 pounds per cubic foot. Fresh water weighs only 62.4 pounds per c.f. so a boat taken from sea water to fresh water will sink into the water and increase her draft slightly. For example, a boat weighing 7500 pounds will displace 117.19 cu. ft. of sea water or 120.19 cu. ft. of fresh water. The difference is 3 cu. ft. so, if her waterline area is 150 sq. ft., she will sink 3/150 of a foot (about 1/4") when she is moved from salt to fresh water. It is truly insignificant for most sailors, unless you are skippering a 90,000 ton tanker.

CENTER OF BOUYANCY (CB): Often called Lateral Center of Buoyancy (LCB); it is the center of the underwater volume of the vessel and can be expressed as a distance abaft the forward end of the LWL, or abaft midships, or as a percentage of the LWL from the bow end. If the boat is to float on her LWL the center of gravity (CG) must be in line vertically with the CB, both fore and aft and athwartship. If the two centers are not in line the boat will change trim, and so change her underwater shape, until the new CB lines up with the CG.

For example; if your boat is floating perfectly in trim and you add 100 pounds of davits and dinghy aft you will move the center of gravity of the boat aft. The vessel will sink by the stern and the bow will come up until the underwater shape changes enough to move the CB over the new CG.

The same applies athwartship. With luck, the CB and the CG are both on the centerline of your boat so she floats level, without any heel angle. When you move to the starboard rail you move the CG off centerline to starboard, so the boat will heel until the change in underwater shape moves the CB vertically above the new CG.

CENTER OF FLOTATION (CF): The CF is the center of the waterline area and is the pivot point about which the boat changes trim, much like the pivot in the center of a teeter totter. On normal sailing hulls the CF is somewhat abaft the CB and, like the CB, is expressed as a percentage of the LWL or a distance from either the bow end of the LWL or from amidships. Of course, as the boat changes trim, due to added weights at one end or the other, the LWL shape changes, so the CF will move slightly.

WATERLINE AREA: The area of the LWL, usually expressed in square feet. It is not always easily obtained but can be calculated roughly for a sailboat by the formula : .67 x LWL x Beam. It is more accurate if you have the Beam WL rather than the Beam(Max), of course. Knowing the LWL area is essential in working out the following calculations.

FINENESS COEFFICIENT (Cf): Also called the Waterplane Coefficient, or Cwp. The Cf is a figure derived from: LWL Area/(LWL x Beam WL). The lower the Cf, the finer the hull at the waterline. Typical sailboats have a Cf of .65-.68

POUNDS PER INCH IMMERSION (PPI): The weight required to sink the yacht one inch. It is calculated by multiplying the LWL area by 5.333 for sea water or 5.2 for fresh. The PPI usually increases as the hull sinks into the water as the LWL area is also increasing due to the shape of the hull above water.

MOMENT TO TRIM 1 INCH (MTI): The MTI is the moment, expressed in foot-pounds, that will change the fore and aft trim of the yacht one inch. For a displacement hull, the MTI is, roughly (but close enough for all practical purposes), .35 times the square of the waterline area divided by the WL beam, or:

For example; a boat has a LWL Area of 165 sq ft and a Beam WL of 8 feet. The MTI is .35 x 165 x 165 /8 = 1191 ft-lbs., say 1200 for rough figuring. Now you hang a 100 pound dink 18 feet abaft the CB. You've added 1800 ft-lbs of aft moment so the boat will trim 1800/1200 = 1.5 inches down by the stern. However, the boat does trim about its CF and, as that is usually abaft amidships, the stern will move less than the bow. You might find that she trims 5/8" down by the stern, and 7/8" up by the bow, making a total trim change of 1.5 inches.

WETTED SURFACE (WS): This is the area in square feet of the underbody of the yacht, including the fin, rudder and skeg. A boat with a large WS will have more surface friction than a boat with lesser WS and be slightly slower given the same sail area due to the greater resistance. This is most important in light air as, at slower speeds, surface friction is the primary cause of resistance.

PRISMATIC COEFFICIENT (Cp): This is a figure that relates the fullness of the ends of the underwater hull to the area of the midship or largest station. The sketch will explain it better than words can.

1.0 and below .525

Selecting the correct Cp for a sailing yacht depends on her speed which, of course, varies with the winds. For an inshore racer in primarily light air conditions it might be wise to go to a .525 Cp. while an all around cruising yacht would benefit from a higher Cp, say ..54-.55 and an ocean racer from higher yet, perhaps .56-.57. In any case, it is best if the Cp is a bit on the high side since the penalty for having too high a Cp at low speeds is less detrimental to performance than having too low a Cp at high speeds. As well, the high Cp should be achieved by fullness aft, not forward, as full bows have an adverse effect on performance.

SPEED/LENGTH RATIO (V/ L.5): This is the speed in knots divided by the square root of the LWL. For example, a 25 foot waterline sailboat moving at 5.5 knots would be at a V/ L.5 of 1.1. while a 400 foot LWL destroyer travelling at 22 knots also has a V/ L.5 of 1.1. Both vessels would develop about the same resistance per ton of displacement as they are both running at the same V/ L.5.

The limiting speed for a pure displacement hull is a V/ L.5 of 1.34. Above this speed the stern wave moves aft so that the stern loses bouyancy, the hull squats, and great additional power is necessary for a small gain in speed. In truth, the typical cruising sailboat probably averages a V/ L.5 of about .9 - 1.0 and only gets close to 1.3 when reaching in a stiff breeze. Tender boats may never get above 1.2 as the crew has to ease sheets when the rail buries!

The modern beamy, super light ocean racer can have a stern wide enough to resist squatting and the stability to stand up to a breeze so often achieves speeds well above 1.4, but that is semi-planing and the boat is getting lift aft due to its speed. My BOC 60 design exceeded 20 knots at times, a V/ L.5 ratio of over 2.6, but those are very specialised yachts.

HALF ANGLE OF ENTRANCE: The angle, measured at the LWL, between the hull centerline and the actual waterline shape. Fine angles are desirable for good performance but can be overdone, creating a wet boat in a seaway. Angles below 19-20 degrees would be considered fine, 20-24 degrees is fairly usual for a cruising yacht and angles of 25 degrees and above are considered bluff bows today but were fairly common in the '60s.

CENTER OF EFFORT (CE): The center of the area of the sails. The CE is usually determined using 100% of the foretriangle area, omitting the overlap of genoa jibs. On some boats that do not carry genoas the CE may be calculated as the center of the working sails. Both the CE and the CLP may be shown on sail plans and the CE will be forward of the CLP by a distance known as LEAD. The LEAD (pronounced 'leed') is essential to provide a balanced helm and the amount of lead is based on certain characteristics of the vessel.

DISPLACEMENT/LENGTH RATIO: The D/L ratio is a non-dimensional figure derived from the displacement in tons (of 2240 lbs) divided by .01 LWL cubed, or, Dt/(.01 LWL) 3 . It allows us to compare the displacement of boats of widely different LWLs. Some examples of various D/L ratios follow, but are generalities only as there is often a wide range within each type.

BOAT TYPE D/L RATIO

Light racing multihull 40-50

Ultra light ocean racer 60-100

Very light ocean racer 100-150

Light cruiser/racer 150-200

Light cruising auxiliary 200-250

Average cruising auxiliary 250-300

Heavy cruising auxiliary 300-350

Very heavy cruising auxiliary 350-400

STORM, a wonderful 27' LWL sloop on which I raced with Bill Luders many years ago, had a D/L ratio of 386 so she would be considered very heavy by today's standards. However STORM was 39' LOA and when she heeled to a breeze her long ends would increase her sailing LWL, thus reducing her D/L ratio to a more reasonable figure when we were beating to windward. If she picked up 3 feet of WL her D/L ratio dropped to about 281, a significant change, and one that made her a very competitive racer in the 1960s.

SAIL AREA/DISPLACEMENT RATIO: The SA/D ratio is the sail area in sq. ft. divided by the displacement in cubic feet to the 2/3 power, or SA/D .667 .

Ratios below 14 are suited for motor sailers, from 14-17 for ocean cruisers and from 16-18 for typical coastal cruisers. Ratios over 18-20 are seen on racing dinghies, inshore racers and ocean racing yachts. The more extreme screamers can have very high SA/D ratios indeed; My 60 foot design, WILD THING, had a SA/D ratio, based on 100% foretriangle, of well over 30, depending on her displacement at the moment. Her displacement varied widely as she could carry 8,000 pounds of water ballast in tanks on the windward side.

COMFORT RATIO (CR): This is a ratio that I dreamed up, tongue-in-cheek, as a measure of motion comfort but it has been widely accepted and, indeed, does provide a reasonable comparison between yachts of similar type. It is based on the fact that the faster the motion the more upsetting it is to the average person. Given a wave of X height, the speed of the upward motion depends on the displacement of the yacht and the amount of waterline area that is acted upon. Greater displacement, or lesser WL area, gives a slower motion and more comfort for any given sea state.

Beam does enter into it as as wider beam increases stability, increases WL area, and generates a faster reaction. The formula takes into account the displacement, the WL area, and adds a beam factor. The intention is to provide a means to compare the motion comfort of vessels of similar type and size, not to compare that of a Lightning class sloop with that of a husky 50 foot ketch.

The CR is : Displacement in pounds/ (.65 x (.7 LWL + .3 LOA) x B 1.333 ). Ratios will vary from 5.0 for a light daysailer to the high 60s for a super heavy vessel, such as a Colin Archer ketch. Moderate and successful ocean cruisers, such as the Valiant 40 and Whitby 42, will fall into the low-middle 30s range.

Do consider, though, that a sailing yacht heeled by a good breeze will have a much steadier motion than one bobbing up and down in light airs on left over swells from yesterday's blow; also that the typical summertime coastal cruiser will rarely encounter the wind and seas that an ocean going yacht will meet. Nor will one human stomach keep down what another stomach will handle with relish, or with mustard and pickles for that matter! It is all relative.

CAPSIZE SCREENING FORMULA (CSF): Some years ago the technical committe of the Cruising Club of America came up with a simple formula to determine if a boat had blue water capability. The CSF compares beam with displacement since excess beam contributes to capsize and heavy displacement reduces capsize vulnerability. The formula is the maximum beam divided by the cube root of the displacement in cubic feet; B/Displ .333 . The displacement in cubic feet can be found by dividing the displacement in pounds by 64, of course.

The boat is acceptable if the result of the calculation is 2.0 or less but, of course, the lower the better. For example, a 12 meter yacht of 60,000 lbs displacement and 12 foot beam will have a CSF Number of 1.23, so would be considered very safe from capsize. A contemporary light displacement yacht, such as a Beneteau 311 (7716 lbs, 10'7" beam) has a CSF number of 2.14. Based on the formula, while a fine coastal cruiser, such a yacht may not be the best choice for ocean passages.

Brewer Yacht Designs 1825 Evergreen Drive Agassiz, BC Canada VOM 1A3 Phone 604-796-3732   Fax 604-796-3738 [email protected]

Russia establishes special site to fabricate fuel for China’s CFR-600

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A special production site to fabricate fuel for China’s CFR-600 fast reactor under construction has been established at Russia’s Mashinostroitelny Zavod (MSZ - Machine-Building Plant) in Elektrostal (Moscow region), part of Rosatom’s TVEL Fuel Company. 

As part of the project, MSZ had upgraded existing facilities fo the production of fuel for fast reactors, TVEL said on 3 March. Unique equipment has been created and installed, and dummy CFR-600 fuel assemblies have already been manufactured for testing.

The new production site was set up to service an export contract between TVEL and the Chinese company CNLY (part of China National Nuclear Corporation - CNNC) for the supply of uranium fuel for CFR-600 reactors. Construction of the first CFR-600 unit started in Xiapu County, in China's Fujian province in late 2017 followed by the second unit in December 2020. The contract is for the start-up fuel load, as well as refuelling for the first seven years. The start of deliveries is scheduled for 2023.

“The Russian nuclear industry has a unique 40 years of experience in operating fast reactors, as well as in the production of fuel for such facilities,” said TVEL President Natalya Nikipelova. “The Fuel Division of Rosatom is fulfilling its obligations within the framework of Russian-Chinese cooperation in the development of fast reactor technologies. These are unique projects when foreign design fuel is produced in Russia. Since 2010, the first Chinese fast neutron reactor CEFR has been operating on fuel manufactured at the Machine-Building Plant, and for the supply of CFR-600 fuel, a team of specialists from MSZ and TVEL has successfully completed a complex high-tech project to modernise production,” she explained.

A special feature of the new section is its versatility: this equipment will be used to produce fuel intended for both the Chinese CFR-600 and CEFR reactors and the Russian BN-600 reactor of the Beloyarsk NPP. In the near future, the production of standard products for the BN-600 will begin.

The contract for the supply of fuel for the CFR-600 was signed in December 2018 as part of a governmental agreement between Russia and China on cooperation in the construction and operation of a demonstration fast neutron reactor in China. This is part of a wider comprehensive programme of cooperation in the nuclear energy sector over the coming decades. This includes serial construction of the latest Russian NPP power units with generation 3+ VVER-1200 reactors at two sites in China (Tianwan and Xudabao NPPs). A package of intergovernmental documents and framework contracts for these projects was signed in 2018 during a meeting between Russian President Vladimir Putin and Chinese President Xi Jinping.

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