Kite design by Tim Elverston
These shots show the beginning stages of the multi-layer paint job that each of two sails will receive.
Below we can see the end of the first red layer, and the beginning of the second layer. The thickness is crucial and is the result of many tests, and a delicate touch. The design must light well from the front as well as the back.
Ruth has started to fill in the tinting on each cell. These fill colors will be multi-layer as well. Two oil paintings on the wall by Ruth Whiting
The second stage of production begins. The unwoven nature of this material demands serious consideration when it's time to sew. At this stage, mistakes such as machine malfunctions are just not an option. Instead of tacking, every start and stop is hand-tied.
Each tip has to be treated with either a pass-through fitting, or a termination. I always remember again at this point that there are many, many tips.
Framing begins. Everything is fabricated from scratch. All connections are handmade. Every effort is taken to achieve an archival object. Glues and plastics are almost completely avoided in favor of fiber, metal, technique, and handmade technology.
Different rod sizing resulted in dropping about 25 grams from the previous generation. These weigh 119 grams at a span of 2.43 meters, 4.2 ounces at a span of 8 feet.
Shown here with some sister kites that are about to go through the same process.
Ruth and I float over the water in an almost imperceptible offshore wind. These were taken in January 2012 at Crescent Beach, Florida. Thanks Joe Irby for these beautiful shots.