Hollow Strength

HOLLOW STRENGTH The Art of Hand Crafting Hollow Wooden Surfboards

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HOLLOW STRENGTH

C OL OP H ON | This typographic excercise book was designed by Paulina M Johnson in the fall of 2014. Bodycopy is typeset in Berkeley Oldstyle, originally designed by Frederic W. Goudy in 1938 and Scala Sans, designed by Martin Majoor in 1993. This edition is limited to three copies, printed and bound at Blurb.com.

ACK NOW L EDGMENTS | Special thanks to Martijn Stiphout & David Dennis of Ventana Surfboards for their help and important contributions to the project.

HOLLOW STRENGTH The Art of Hand Crafting Hollow Wooden Surfboards

BOOK DEDIC ATION

This book is dedicated to Burton, the most important & steady of rocks within the sea, to Alex & Austin, my guiding lights, to my parents, because everything I do just is and to the ocean, whose energy I constantly seek.

Diego, this book is also for you.

TABLE OF CONTENTS

0째 0' 0" w ~ prime meridien, greenwich ch 01

04.

A BR IEF HISTORY OF SUR FING: From ancient Polynesians to the super-pros of today | By Tim Nunn

ch 02

28.

THE ART OF H AND CR AFTING Wooden Surfboard History Building Materials Ventana Surfboards & Supplies Philosophy Master Craftsman Martijn Stiphout Building Tools & Techniques Building Process

ch 03

46.

NAT U R E & T H E DE SIGN PROC E S S Parts of the Surfboard Top View Bottom View Types of Surfboards Fish Shortboard Hybrid Gun Funboard Longboard

68.

GLOSSARY OF SUR F

01

“A surfboard is anything you want it to be. It’s 02

something you ride waves with, from an inflatable matt or your torso, to a piece of wood, or foam.”

S T E V E CO L E T TA N AT U R A L C U R V E S S U R F B OA R D S

03

Push a Button and Tell a Story: Orange County, California The Inertia Stephen Morissette

DUKE KAHANAMOKU

“Out of water, I am nothing”

01

0° 0' 0" w ~ prime meridien, greenwich

CHAPTER

05

Spain’s Northern Coast Might Be the Most Photogenic in Europe The Inertia Jaider Lozano

170째 45' 32.1" w ~ western polynesia

A BRIEF HISTORY OF SURFING Chapter 01

06 a brief history of surfing

< 1779

By

SUR FING IS ONE OF THE OLDEST

Tim Nunn

practiced sports on the planet. The art of wave riding, is a blend of total athleticism and the comprehension of the beauty and power of nature. Surfing is also one of the few sports that creates its own lifestyle.

The act of riding waves with a wooden board originated in Western Polynesia over three thousand years ago. The first surfers were fishermen who discovered riding waves as an efficient method of getting to shore with their catch . Eventually catching waves developed from being part of everyday work to being a pastime. This change revolutionized surfing.

Hawaiian Petroglyph Unknown

07

There is no exact record of when stand-up surfing became a sport. It

The first Polynesian settlers to land in Hawaii

is known that during the 15th century, kings, queens and people of

were most likely skilled in simple surfing,

the Sandwich Isles were big into the sport of “he’enalu” or wave-slid-

and after a few hundred years of riding the

ing, in old Hawaiian,. “He’e” means to change from a solid form to a

waves of Hawaii, the well-known Hawaiian

liquid form and “nalu” refers to the surfing motion of a wave.

form of the sport emerged.

Early historical records of surfing appear in the late 1700s, when

The Hawaiians who surfed, the ali’i or high

Europeans and Polynesians made first contact in Tahiti. Navigator

class, claimed the highest reputation for skill

Captain James Cook described how a Tahitian caught waves with his

with boards on waves. They developed their

outrigger canoe just for the fun of it: “On walking one day about

own prayers, board shapers, wood and

Matavai Point, where our tents were erected, I saw a man paddling in

beaches where a select few could surf with

a small canoe so quickly and looking about him with such eagerness

people of their talent. No one dared to drop

of each side. He then sat motionless and was carried along at the same

in on their wave in fear of getting punished

swift rate as the wave, till it landed him upon the beach. Then he

and possible dying. The surfboards under-

started out, emptied his canoe, and went in search of another swell. I

went a sacred ritual before construction.

could not help concluding that this man felt the most supreme plea-

Only three types of trees were picked to make

sure while he was driven on so fast and so smoothly by the sea.”

a board. The board maker would dig up the tree and around the roots place fish in the hole as an offering to the gods for the tree.

The process of shaping then began.

156° 59' 19.1" w ~ islands of hawaii Chapter 01

08 a brief history of surfing

1779-1820

1820-1900

I N 17 7 9 , T H E H M S E N D E A V O U R

GER M AN AND SCOT TISH MISSIONARIES T UR NED

arrived on the scene, and with it a group of

up in the Hawaiian islands and very nearly ruined it for everyone.

British explorers led by the legendary Captain

Being prudish religious zealots they banned surfing. The act of men

James Cook. As well as mapping out New

and women riding waves naked together didn’t go down well with

Zealand and Newfoundland for the first time,

these ambassadors for European Christianity.

Cook should go down in history as the man who discovered more world-class surf spots than anyone since.

One of his crewman Joseph Banks was the first to describe surfing, writing that is was an essential part of Polynesian culture. He added that it was the higher classes that surfed best, and that they restricted access to the best breaks. However he noted that lower classes could rise through social ranks by proving their prowess in the surf.

Thankfully surfing survived though and was practiced out of sight of the missionaries. Some of the wealthier Hawaiians attending boarding schools in California even took boards with them and the late 1800’s saw the first sightings of wave riding in the Golden State.

09

Late-nineteenth century Big Island surfers with Alaia boards.

Unknown/Bishop Museum

117° 59' 57.7" w ~ huntington beach, ca

I T WA S N ’ T U N T I L T H E E A R LY 2 0 T H

Chapter 01

Century however that surfing started to take

10 a brief history of surfing

hold. A half-Irish half-Hawaiian gentleman by the name of George Freeth was shipped 1900-1910

into California with a board. He was there to show off his incredible wave riding skills to promote the railroad between Los Angeles, Redondo and Huntington Beach.

George first surfed at the now legendary Huntington Beach pier (now at the heart of Surf City USA) before travelling up and down the coast giving surf & surf-lifesaving demonstrations to amazed beach-goers. This little promo stunt brought surfing into the public consciousness for the first time and fired the imagination of many.

George Freeth & Redondo Beach protégés, around 1909.

Unknown

Duke Kahanamoku.

Alfred Gurrey, Jr./ Bishop Museum

11 1910-1930

I F G EORG E F R E E T H STA RT E D T H E G LOB A L S U R F I NG R E VOLU T ION, then it was Hawaiian Olympian Duke Kahanamoku who took it to the world and kick-started the lifestyle that we all know and love today. A world class swimmer (he won a number of medals at the Olympics in 1912, 1920 & 1924) and travelled to events giving demonstrations of his swimming prowess.

He also carried a surfboard wherever he went and slowly but surely introduced the new sport to the world. It spread from west to east coast of the USA and in 1915, he turned up at Freshwater beach in Northern Sydney. Australia’s national sport was born.

So important is the Duke to surfing that many people refer to him as “the grandfather of the modern era”. Like Jesus’ disciples the people who saw him surf went on to spread the word throughout the globe. He helped establish the cultural hotbeds of the sport, California, Hawaii and Australia, as well as bringing it to the fringes of the surfing world.

Art Deco-era postcard set.

Unknown

Chapter 01

12 a brief history of surfing

San Diego Surfer and a new Bob Simmons “Slot” Board, early 1950’s.

Bev Morgan

18° 56' 51.4" e ~ poland, eastern europe

Left: Tom Blake, Waikiki.

Unknown Right: Palos Verdes Surf Club Member Fenton Scholes (Foreground), at the cove, 1939.

John “Doc” Ball

1930-1950

T H E R OA R I N G 2 0 ’s WA S B R O U G H T T O A S U D D E N , jolting halt in the 30’s by the rise of Nazi Germany & the Japanese Empire, who started a little thing called World War Two which put an end to fun times at the beach. But while the Nazis did a lot of bad for surfing by building sand-blocking sea walls across Europe, the war actually advanced surfing in ways which at the time no-one could have foreseen.

First of all foam and fibre glass construction techniques developed at great speed during the war. Although a known material pre war, it was its application in military aviation which made it a commercially viable product. This advancement would form the basis of the shaping industry down the line.

The war years also gave rise to neoprene. It was being developed before things kicked off by the war effort and increased the resources being poured into R&D. This rubber-like material became the basis for future wetsuits. It was this key advancement that allowed surfing to take a foothold in places like the UK.

13

118° 47' 37.3" w ~ malibu, california

Top: Gidget, Kahoona and Moondoggie in Gidget.

Fanpop Right: Greg Noll at the finish line, Lifeguard Paddleboard Race, 1956 Collection of Greg Noll Chapter 01

14 a brief history of surfing

1950-1960

S U R F I NG S TA RT E D TO SE R IOUSLY take a hold between the 1950’s and 1960’s. It’s estimated that the total surfing population of California grew from 2-4000 to close to 100,000 over the course of the 1950’s. Californian surfers started moving to the North Shore of Oahu in the Hawaiian islands, and in 1957 now-legendary big wave hell-man Greg Noll became the first man to ride Waimea Bay. This became the cradle of big wave surfing. Waves there were thought unsurfable until Noll paddled out and changed everything.

But whilst surfing was spreading across the globe and growing organically it was a 1959 film about a girl with big ideas called Gidget which catapulted surfing culture into the stratosphere.

The film, set around Malibu in California, was a wild success, bringing surfing massive mainstream exposure and nothing would ever be the same again.

15

â&#x20AC;&#x153;A surfboard is a beautiful Chapter 01

16 a brief history of surfing

and marvelous synthesis of ideas and curves that links man with nature.â&#x20AC;?

S T E V E CO L E T TA N AT U R A L C U R V E S S U R F B OA R D S

17

United States Surfing Championships, 1959 Huntington Beach, California Ron Church

118° 19' 17.8" w ~ hollywood, california 1960-1970

SUR FING W ENT THROUGH THE ROOF IN THE 60’S. Hollywood jumped on the Gidget bandwagon and filmed more surf movies. The Beach Boys made a career out of singing about it (despite the fact that only one of them could actually surf!) and the rising popularity of the free and easy California lifestyle meant surfing spread with the hippy movement from the west coast to the world.

On a performance level Greg Noll and his buddies were pushing big wave surfing beyond what was thought possible in Hawaii, riding giant swells and conquering the Banzai Pipeline for the first time. The first surf magazines started to appear, shapers started using more advanced materials to make lighter, and most significantly, shorter boards. Then in 1969 Jack O’Neill launched the wetsuit.

The 1960’s were revolutionary for surfing (as they were in so many other walks of life) and they paved the way for the modern era of surfing as we know it, which really started in the 1970s.

Mickey Muñoz in a Short John Wetsuit.

Bev Morgan

19 1970-1980

I N T H E 70 ’ S, S U R F I NG C A M E OF AG E , G OT C OM M E RC I A L I Z E D A N D went professional. Companies like Quiksilver, Billabong & Rip Curl started in this decade.

The short board revolution was well underway and boards got smaller and more radical. There was a proper surf film and media industry developing, and the first pro tour started.

There had been contests before but there hadn’t been a properly organized tour. Peter Townend, better know as PT, won that first tour and was crowned the first pro world champion, despite not winning a single event!

The Australians led the charge in those early days: As well as PT, Wayne “Rabbit” Bartholomew and Mark Richards dominated along with South African Shaun Thomson. They helped galvanise the world tour and turn it into something properly worldwide with stops in Hawaii, Australia, The USA, Europe and South America.

Wayne Bartholomew, Pipeline, 1976.

Dan Merkel/A-Frame

T H E 198 0 ’ S STA RT E D FOR SU R F ING. SIMON A N DE R SON, a solid and well-known pro surfer/shaper from Australia, popularized the thruster—a three fin surfboard which is still the ultimate setup today. The pro tour continued to grow and new rock stars like Tommy Carroll, Mark Occilupo and one of the greatest surfers of all time, Tom Curren, arrived on the scene.

The surf industry grew, and despite taking a rather unhealthy interest in neon, surfing progressed rapidly. Surfers like Christian Fletcher, an off-the-wall character from California, started busting airs. No one on the contest scene really got it though and his brand of surfing was frowned upon by the establishment at the time.

Surf movies were getting more and more important in the surf culture, especially following the arrival of the VHS tape. This meant that you didn’t have to wait for a movie to come to the local cinema, you could

Chapter 01

watch it at home and get amped to go surf.

20 a brief history of surfing

1980-1990

Left: Underwater Hand Drag at Teahupoo Tim McKenna Right: Kelly Slater, Pipeline Ryan Craig

1990-2000

W E LCOM E, T H E MOM E N T U M GE N E R AT ION. T H E 199 0 ’ S TOTA L LY R E-W ROT E everything that went before. This revolution was led by one man, Kelly Slater. In 1992, legendary filmmaker Taylor Steele made the movie Momentum. The film was rough, cut to a punk soundtrack and the surfing was on a whole new level. It introduced Slater and a raft of other new school rippers to the world.

Unlike the movies that went before it, which were generally backed by big companies and filmed on 16mm, Momentum was filmed on the sort of camcorder that anyone could own. The marked difference was the level of surfing.

Kelly Slater, Shane Dorian, Rob Machado and Aussies like Taj Burrow tore the decade a new one as they went from gromhood to manhood. The old school and their power turns were being replaced by kids who could ride barrels and do big turns but were also throwing tail and punting an ever increasing variety of airs. These guys started to take over the tour, and Slater won his first of 12 world titles in 1992.

There was increasing discontent with competitive surfing as the 90’s progressed, and although some forward-thinking companies like Quiksilver were taking contests to world class waves, the majority of the world tour still took place in small city locations just to get crowds to the beach.

This was set to change though and in 1999 Wayne ‘Rabbit’ Bartholomew was made the ASP commissionaire, and the age of the dream tour began.

Chapter 01

22

I N T H E 2 0 0 0 ’ s S U R F I N G WA S H O T,

2000-2010

it was everywhere and the industry was booming. New companies were popping up in almost every country, sponsored surfers almost outnumbered regular ones in the lineups. Surf trips were getting more and more lavish – taking a helicopter on your boat

23

trip to Indo was now just standard.

The world tour really was the dream tour with Teahupoo in Tahiti, Cloudbreak in Fiji and the epic mobile Rip Curl Search event inspiring even the most anti of anti-contest

In fact, all was great in the world of surfing

surfers. Kelly Slater was still winning, but

until the late 90’s and the financial crash. Big

surfing was also progressing with a whole

business problems couldn’t affect surfing

new crop of groms coming along.

could they? Well it turned out they could.

Technology in surfboards and wetsuits were making both lighter, more flexible in the case of wetsuits and more able to withstand the rigours of the cold. This helped push surfing

The big surf companies had racked up a lot of debt with some dubious business decisions as they sought to satisfy shareholders in the boom years by growing ever bigger.

beyond the normal boundaries of where was

Many of the biggest brands began to struggle,

possible to ride, opening up new waves all

leading to a partial collapse of the industry.

around the world.

Hundreds of sponsored riders were dropped and the world surfing tour came close to losing some of its events.

A LT HOUG H T H E W HOL E WOR L D I S SE E M I NG LY suffering from financial ruin, surfing is still booming. Sure, the big companies are on their knees but participation rates are apparently through the roof. As far as we’re concerned the fact that more and

Chapter 01

more people than ever are getting out there and surfing means the

24 a brief history of surfing

sport has never been in a better place.

However, we’d be stupid if we pretended that the surf industry’s woes 2010 - present

have had no effect on the sport, and the ASP pro tour in particular. In recent years there have been rumors of rebel tours starting, or the whole thing just collapsing altogether. The problem was that the big brands who owned and funded the individual events could no longer afford the spiralling costs. Enter Zosea.

Zosea took over the ASP in 2013, and now own the men’s and women’s world tour, the Big Wave World Tour. In 2014 they’ll also take on the XXL Big Wave Awards. Some people were critical, but the move brings a lot of positives. They’ve taken the pressure off struggling surf companies, helped professionalize the whole set up, and when their stewardship comes into full affect this year, they’ll also bring in a blanket sponsor who can help fund the whole tour in Samsung.

In terms of pros, Kelly Slater is still at the top, but now the young crew of groms like Gabriel Medina from Brazil, Julian Wilson from Australia and John John Florence from Hawaii are ready to take over.

After some dark years for competitive surfing it is now probably in the strongest place it has ever been.

25

Swimming with Modern-Day Sea Monsters The Inertia Andrew Carruthers

Of course through all of this change, the basic art of wave riding has always remained the same. From the ancient Polynesians and Hawaiians to the ordinary folk in the water today, surfers everywhere have spent thousands of years enjoying the same incredible feeling. And while itâ&#x20AC;&#x2122;s been an interesting ride, the rest of surfing history is just background noise really.

â&#x20AC;&#x153;A surfboard is not only Chapter 02

26 The Art of Hand Crafting

something you ride waves with, it is a portal to a place of fun & solitude.â&#x20AC;?

S T E V E CO L E T TA N AT U R A L C U R V E S S U R F B OA R D S

27

Push a Button and Tell a Story: Orange County, California The Inertia Stephen Morissette

THOMAS HARDY

“To dwellers in wood, almost every species of tree has its voice as well as its feature.”

02

0째 0' 0" w ~ prime meridien, greenwich

CHAPTER

29

The Deeper Side of Surf Photography The Inertia Rich Brooks

Chapter 02

30 The Art of Hand Crafting

Inner Board Structure Itching For Fun Mark Lott, Oregon

WOODEN SURFBOARD HISTORY Tom Blake, 1929 Unknown

HOL LOW WOODEN SU R F BOA R DS were first built in the 1930â&#x20AC;&#x2122;s by a surfer/ paddler named Tom Blake. The boards built during that time were revolutionary in that they combined advanced nautical, aerospace and surfing knowledge to build lighter and better boards. During the late 1950â&#x20AC;&#x2122;s, as foam surfboards hit the market, wooden boards became almost obsolete. Foam was lighter, cheaper, faster to produce and shape, and easier to take care of. In recent times, the resurgence towards old building methods and the quest for alternative surf craft has re-inspired many to look at wooden surfboards as a viable option.

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BUILDING MATERIAL S Chapter 02

WHILE ALMOST ANY T YPE OF

32

wood can be used to build surfboards, there

The Art of Hand Crafting

choices. Hardwoods (flower-bearing trees)

are a few types that stand out as excellent provide excellent strength, but are usually heavier than softwoods and thus not always ideal for surfboards. Paulownia and balsa, however, are hardwoods that are well suited to board building. Balsa is too soft and brittle for hollow wood board (HWB) construction, but works well for solid or chambered boards.

Paulownia works well for both. Softwoods (coniferous trees) like redwood, spruce, and cedar tend to be top choices for HWBâ&#x20AC;&#x2122;s, as they have good strength characteristics, flex well, and are lightweight. Cedar and redwood (heart wood) are excellent in resisting rot and insect damage.

Redwood Forest White River Gallery

National Geographic Society, Spruce Forest Michael Melford

33

V EN TA N A SU RFB OA RDS & SU PPL IE S , S A N TA CRUZ Chapter 02

34 The Art of Hand Crafting

V ENTA NA SU R F BOA R DS & SU PPL IE S, M A K ER S OF hollow wooden boards in Santa Cruz, California, have a simple, three word philosophy that guides everything they do: Craftsmanship.

Responsibility. Adventure.

1. CR AF T SMANSHIP :

Everything Ventana makes, from the smallest tool or body surfing hand plane to their 10-foot big wave boards, is characterized by the type of craftsmanship that has been lost in most industries today.

Every curve, join, element and inlay on a Ventana wood board or product is a study in perfection.

2. RE SP ONSIBILIT Y:

The team at Ventana thinks long and hard about its actions, materials, processes and product sourcing. They work to maximize environmental and social responsibility in everything they do, especially when it comes to ensuring a clean and healthy ocean. Their surfboards use bio-resin and reclaimed or recycled woods. And, their new line of surf supplies leverages organic cottons, locally sourced products, materials made of recycled plastic bottles, and even candles made from bottles found by volunteers at local beach clean ups. They treat their business partners, suppliers and employees with respect and hold themselves to a high ethical bar.

3 . ADVENT URE:

At its core, Ventana is a surf company.

Ventanaâ&#x20AC;&#x2122;s surfboards and supplies are made for adventurous surfers who enjoy rugged travel and are as comfortable in big surf on cold days as they are relaxing with good friends around a campfire. The craftspeople who work at Ventana love to surf, travel and seek adrenaline-producing activities both in and out of the ocean. On nights with a bright moon, youâ&#x20AC;&#x2122;ll often find them night surfing on their hollow wooden boards.

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Chapter 02

36 The Art of Hand Crafting

MASTER

M ARTIJN STIPHOUT IS THE M ASTER CR AFTSM AN

CRAFTSMAN

in South Africa, moved to Germany when he was still small, then on

MARTIJN

California in 1993.

STIPHOUT

and board design visionary behind Ventana Surfboards. He was born to the Netherlands a few years later. He finally came to settle in

Martijn began working with wood when he was a young boy, learning most of his skills from his father and building upon them. He started surfing in the Netherlands and has been passionate about riding waves ever since. He graduated from Monterey Bay State University with a degree in Marine Biology, after which he pursued a career in conservation education and became a mate and captain aboard a sailing research vessel in Californiaâ&#x20AC;&#x2122;s Monterey Bay. He was involved with several interesting research projects, from tracking marine debris in the San Francisco Bay to Great White shark tagging at the Farrallon Islands near San Francisco. Working among marine debris and seeing first-hand what is happening to our Oceans, Martijn decided it was time to try to lessen his impact on the environment by building wooden surfboards, focusing heavily on sustainable and recycled materials.

T HE TOOL S & T ECHNIQU ES USED in board building are various and continuously evolving. Power tools like band saws, table saws, routers, surface planers and sanders work in conjunction with hand tools like hand planes, sanding blocks and eggbeater drills. Most of the tools in the Ventana shop were acquired second-hand with the belief that old tools were built to last and can be very accurate if well-tuned. Rather than buying new tools manufactured overseas, Ventana seeks out used, domestically made products. Martijn personally finds many of Martijn at work in his shop

the hand tools at local flea markets, swap

Ventana Surfboards

meets and garage sales. The tools are then restored and tuned to be put to use in the Ventana workshop. Examples of such tools include a drawknife from the 1830’s, hand planes from the late 1800’s to early 1900’s and manual egg-beater style drills from the mid 1900’s. The process of building boards generally starts with the big power tools, cutting and re-sawing the pieces to be used in the boards. As the work progresses, the tools continue to get smaller and finer, allowing the end-product to be a well-built piece of surfable art with a high attention to detail.

Surfing Santa Cruz Ventana Surfboards

37

“A surfboard is a tool. The Chapter 02

38 The Art of Hand Crafting

more fun-oriented it is, the more it will be used.

It is a tool to happiness.”

S T E V E CO L E T TA N AT U R A L C U R V E S S U R F B OA R D S

39

The Journey of a Photography Major: SoCal to Teahupoo The Inertia Jared Sislin

BUILDING TOOLS & TECHNIQUES R EDWOOD IS ON E OF T HE T Y PE S OF WOOD MOST commonly used at Ventana Surfboards. Itâ&#x20AC;&#x2122;s locally available in Santa Cruz, California, often found as old-growth from reclaimed wood.

Old growth lumber is a joy to work with, it is dimensionally stable, lightweight, close grained, and beautifully colored. Ventana has used old growth reclaimed redwood sourced from backyard decks, water Chapter 02

tanks, trellises, floor boards and found driftwood. Cedar and Douglas

40

fir are also commonly used. They can be sourced locally and are com-

The Art of Hand Crafting

material. Accent pieces on the boards and wood products come from

monly used for construction, making it easier to source as reclaimed all over and are comprised of a large variety of species.

Martijn Stiphout, Ventanaâ&#x20AC;&#x2122;s master craftsman and board designer, frequently uses buckets of off-cuts from cabinet shops. Off-cuts are small pieces of wood that are usually discarded or burned because their small size makes them unusable for cabinet work. They get to go surfing instead of burning when Martijn gets a hold of them. He frequently uses small pieces of exotic wood in inlays, tail blocks and fins. These types of woods are only used if available as waste as Ventana does not support logging of rainforests or exotic tree species.

Examples of the types of exotic wood Ventana uses in its boards include ebony, sourced from an old Piano destined for the dump, or Padauk wood from cabinet makers.

Work in Progress Ventana Surfboards

41

Top: Hand Planer Ventana Surfboards Bottom: Hollow Wooden Board Collection Ventana Surfboards

Left: Glueing process Ventana Surfboards Right: Shaping process Ventana Surfboards

BUILDING PROCESS BU IL DING HOL LOW WOODEN BOA R DS IS V ERY

43

different from shaping foam boards. With foam, shapers start with a larger mass and work it down to the shape desired. This allows for a lot of control over the boardâ&#x20AC;&#x2122;s shape and thickness.

Conversely, to build a hollow wooden board, the builder starts from the inside and builds up the board until he or she reaches the desired shape. Shape, size and thickness must always be determined first.

Starting with a computer-generated design, master templates are created which are transferred to Masonite and are cut and shaped to perfection. The templates are then mounted to plywood which compose the inner structure. The plywood is rough cut and routed to its final shape on a table router. All of the slots and notches are cut into the frames and stringers, and then the pieces are drilled out to reduce weight and promote air flow through the inside structure of the board. All of the pieces are then sealed with epoxy resin to ensure water resistance. The bottom deck is then prepared. This usually means that it is designed, drawn out full scale and then pieces are cut to fit.

Top: Bottom side of fin Ventana Surfboards

Top Left: Finished board detail Ventana Surfboards Top Right: Hollow Wooden Longboard Ventana Surfboards

Chapter 02

44 The Art of Hand Crafting

BUILDING

After being fine-tuned with a sanding block,

PROCESS

nated around the outside to form the rails.

(Continued)

(cheese grater type tool) and sanding blocks/

the rail edges are sealed, and cork gets lamiThe cork is shaped by using a sureform paper. Once the rails are turned (shaped) to the desired shape, inlays such as abalone or

AT V ENTA NA, MOST OF T HE LU MBER

jade can be added along with any branding

used is reclaimed, so building the decks is

or other aesthetic elements. At this point the

process intensive. First, the pieces to be used

board gets a thin, clear coat of epoxy called a

are selected, trimmed and/or rough cut on the

“cheater coat” to seal the wood before fiber-

table saw. They are then planed using a

glassing. The cheater coat prevents the wood

surface planer after which they go through

from wicking the resin out of the fiberglass

the band saw to be re-sawn into thin pieces.

cloth which can cause dry, weak laminates.

The pieces are then planed to between 3/16"

Finally the board gets fiberglassed using a

and 1/8" in thickness. Finally, they are all cut

4-ounce cloth and Entropy BioResin, an

to match the design for the board. The pieces

epoxy that has a high content of natural

are glued together using epoxy and, once dry,

resins and sap (70%) and is much better for

the decks are cut about ½" over-size relative

the environment than traditional surfboard

to the board. The rocker table (a table which

resins. After all the cloth has been laid down,

can be adjusted to match the curvature of the

a fin or multiple fins are glassed on. If they

board) gets adjusted and the interior frame is

are box fins, the boxes remain covered until

glued together. Once dry, the bottom deck is

the final sanding. Several “hot coats”, or

laminated with fiberglass on the inside and

sanding layers, are spread over the board

immediately glued to the frame by laying it

before it gets sanded and polished to finish it

on the rocker table and clamping the struc-

off. Of course, the most important part of the

ture to the deck. After this is finished, fin

process is when one a lucky surfer takes his

supports are added on the inside bottom and

or her first amazing ride on a beautiful piece

a vent and leash cup is installed on the inside

of art that will last for years.

top deck, which are glassed from the inside.

The top deck is then glued to the frame by clamping in the rocker table. Next, the outline of the board is drawn on the top deck and hand planes are used to cut the decks to the desired shape.

45

BUZZY TRENT Chapter 03

46 Nature & the design Process

â&#x20AC;&#x153;Waves are not measured in feet and inches, they are measured in increments of fearâ&#x20AC;?

03

0째 0' 0" w ~ prime meridien, greenwich

CHAPTER

47

The Deeper Side of Surf Photography The Inertia Rich Brooks

NATURE & THE DESIGN PROCESS Chapter 03

48 Nature & the design Process

T HE PR INCIPL ES OF SU R F BOA R D DESIGN A R E A vast array of theories of surfers interacting with waves. It’s a science, but it’s not an exact science. There are few, if any, absolutes. There is no lab or test tank. The lab is nature. Surfer, surfboard, waves, and surfing are the variables.

The Inertia Brian Bielmann

49

Design begins in the metaphysical world and

Correct use of the design process yields a

eventually transitions into the physical world.

functional & relevant surfboard. A surfboard

It flows from the designerâ&#x20AC;&#x2122;s imagination and

is functional and relevant when it is designed

desire, intuition and reasoning to trial and

for and performs for the surfer and the condi-

error and repeated testing and observation.

tions in which it will be surfed.

Surfing and the surfboard design process

Surfer, shaper and designers depend on their

began with the imagination and desire of

imagination, intuition, reasoning, trial and

ancient Pacific Islanders. The islanders saw

error, and testing and observation to advance

waves & visualized themselves riding them.

surfboard design. They design and shape

Their intuition and reasoning led them to

boards by arranging dimensions, rockers,

craft boards from trees to glide on swells and

bottom contours, deck contours, foils, tem-

breaking waves. Through trial and error­ , plates, rails, and fins to best suit individual test and observation, they modified and

surfers (their size, skill, and technique) and

developed their boards to be efficient for their

the specific surf conditions (size, power, and

approach to riding waves. Over the centuries

shape) of the waves they ride.

this process has repeated itself and will continue to repeat itself as long as man rides waves and interacts with nature.

Top Vie w

PARTS OF THE SURFBOARD

Board Length

Leash Chapter 03

50 Nature & the design Process

Board Width

Leash Plug

LENG TH

WIDTH

T HE LENGT H IS ME A SU R ED FROM

SU R F BOA R D W IDT H IS T H E SI Z E

the nose to the tail. Choosing the length of

of the board across the surfboard, perpen-

the surfboard is dependent on your size

dicular to the stringer. The widest point is

(weight, height), board type and waves condi-

measured from board rail to rail. Generally

tions you wish to use the board for. Longer

the wider the surfboard the more stable the

boards will paddle easier, glide better and

board, while a board with smaller width

make it easier to get around sections. However

maintains better speed and performance.

they are less manoeuvrable than short surf-

Experienced surfers will often ride surf-

boards. Beginners normally need a surfboard

boards 17–19" wide and in large waves most

12–18"″ longer than they are tall.

surfers benefit from the increase in control that narrower surfboards will give.

The Inertia Oliver Kurtz

LE A SH

A S U R F B OA R D L E A SH I S T H E COR D T H AT AT TAC H E S a surfboard to the surfer. It prevents the surfboard from being swept away by waves and stops runaway surfboards from hitting other surfers and swimmers. Modern leashes comprise a urethane cord where one end has a band with a velcro strap attached to the surfer’s trailing foot, and the opposite has a velcro strap attached to the tail end of the surfboard.

Prior to leashes’ introduction in 1971, surfers who fell off their boards had to swim to retrieve them. Santa Cruz resident Pat O’Neill is credited with popularizing the surf leash. His initial designs consisted of surgical cord attached to a board with a suction cup. At the 1971 Malibu international surfing competition, Pat offered leashes to his competitors in the event. Consequently he was disqualified from the event for wearing his leash, dubbed a kook cord by those at the event.

However, over the next year, the leash became a ubiquitous tool in the surfing world.

Leashes are still the source of some contention in surfing today.

Although they are accepted as mandatory equipment for shortboarders, many longboarders refuse to wear them, claiming it interferes with their ability to walk up and down the board. At crowded surf spots with large waves, it is argued that the freedom of not wearing a leash is secondary to the safety of others.

LE A SH PLUG

A L SO K NOW N A S A “L E A SH PLUG”, IS A N IN DENTAT ION in the deck of the board close to the tail that contains a small metal bar that a short cord can be girth hitched to for attaching a leash.

51

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PARTS OF THE SURFBOARD (Continued)

Nose

Rails Chapter 03

52 Nature & the design Process

Deck

Tail

NOSE

R AIL S

T H E NOSE OF T H E S U R F B OA R D SI T S

THE R AILS ARE THE “EDGES” OF

out of the water. On shortboards, guns, and

the surfboard and run from the tail to the

fish, the nose is normally pointed, and on

nose. A rounded rail is called “soft”, while a

funboards and longboards, the nose is usually

more squared off rail is called “hard”, and

rounded. However, this is by no means set in

rails that are in between are termed “50/50”.

stone. Some surfers use a surfboard nose

Larger, fuller rails contain greater volume,

guard which can protect the surfboard from

giving the board increased buoyancy, while

dings and also protect the surfer from a good

sharper, narrower rails have less volume,

poke from a disgruntled board!

making the board easier to “sink” and “lean on edge”. While riding down the line, one rail is always in the water while the other is suspended freely in the air. Turns are a matter of transitioning from rail to tail and over to the contralateral rail.

TAIL

T H E TA I L I S AT T H E BAC K OF T H E surfboard. When looking at different tails, a good rule to remember is that angular shapes provide more pivotal and sharper turns,

Rounded Square

Rounded Pin

Swallow

Square

Pin

Diamond

while rounder shaped tails give rounder and smoother turns. Tail shape influences the hold and release on the surface of the wave.

Picture how water flows off the back of the board. Water is sticky and follows the lines of the board. Curves hold water flow whereas

53

corners allow water to break away. A round or pin tail will hold the water longer making it stable in bigger surf. A square or angular tail will release water making it looser.

Rounded

Squash

Star

Rounded Diamond

Fish

Bat

Stringer

Fang

Hip

Different surfboard shapes will change the width of the tail, which determines surface area. This will influence the board’s overall acceleration and how much control the surfer has on the face of the waves.

DECK

T HE DECK IS T HE TOP SIDE OF T HE SU R F BOA R D and is where the surfer stands to surf or lays to paddle. Wax is applied to this top surface for grip. Often surfers will use a traction pad for extra grip. If you look at the deck of a surfboard, you’ll usually see a slight camber from the rail to the middle then back to the rail. This is know as a domed deck and helps promote easy rail-to-rail movements. The other type of deck is the flat deck—no prizes for guessing what this type looks like.

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PARTS OF THE SURFBOARD (Continued)

Chapter 03

54

Stringer

Nature & the design Process

S TRINGER

T HE ST R INGER IS ONE OF T HE CENT R A L A R E A S OF SU R FBOA R D design. While it has always been commonplace to see wooden stringers running down the center of a board, shapers have reevaluated its function to further advance the sport.

When Clark Foam ceased operations in December of 2005, it signaled the beginning of a revolution in surfboard design and technology. While many pioneers ventured into the unknown waters of different materials and design before Grubby Clark shut his companyâ&#x20AC;&#x2122;s doors, it took this large splash to send ripples into every corner of the sport. This revolution has produced an era of accepted innovation. Never in the history of surfing have we seen such a consistent effort to improve performance and strength through design and material experimentation.

55

PAR ABOLIC S TRINGER

T H E ST R I NG E R S YST E M I N W H IC H T WO ST R I NG E R S wrap the perimeter of the rails. They are typically made with balsa CENTER S TRINGER

T H E S T R I NG E R I S A T H I N S T R I P O F

material, but shapers have recently introduced carbon fiber. The desired function behind parabolic stringers is memory flex, which dictates how quickly the shape can bend and bounce back to its original shape. A

wood that traditionally runs down the middle

balance of strength and flex must be found because flex is useless

of the surfboard. The wood is typically made

without the element of strength. In traditional center stringers, there is

of balsa and the thickness increases the

torsion flex, meaning the perimeters flex and twist. This will cause the

strength and rigidity of the board.

board to slow and fatigue. With a strengthened perimeter, the surfer can apply more controlled weight to the boardâ&#x20AC;&#x2122;s rail, gaining more con-

MULTIPLE S TRINGER

trolled buoyancy. This enhances drive, improves wave face penetration and increases speed. The added flexibility on the perimeter of the board

O F T E N T I M E S , L O NG B OA R D S H AV E

allows the surfer to lean into the stringer in turns as apposed to the

multiple stringers for the purpose of adding

foam. This bends the stringer and shoots the surfer out of the turn as it

strength. This is sometimes needed because

flexes back. This means more speed, acceleration and torque.

the larger surface area of a longboard can flex and wobble too much. Additional stringers will minimize this effect.

B ot tom Vie w

PARTS OF THE SURFBOARD (Continued)

Various Surfboard Bottom Shapes

Chapter 03

56 Nature & the design Process

Flat

Concave

Tri Plane Hull

Hydro Hull

Belly

â&#x20AC;&#x153;Vâ&#x20AC;?

BOT TOM

T H E S U R FA C E O F T H E B O A R D T H A T R E S T S O N T H E WA T E R , U S U A L L Y concaved but sometimes convex.

CONCAVE: Modern surfboards often contain multiple contours on the bottom of the board, termed concaves. These concaves have different uses and vary among different types of boards. Most concaves on the modern shortboard begin about 12" back from the nose of the board on the bottom and then carry out through the middle to the tail of the board. The purpose is to direct water through the fins of the surfboard. Surfboard shapers sometimes experiment with concaves to create different drive and response characteristics.

CONVEX: Some older and more traditional surfboards along with many modern boards that take inspiration from older ones utilize a convex rather than concave design on the bottom of the surfboard. These boards displace more water and sit lower in the wave than a surfboard with a concave bottom.

RO CKER

THIS R EFER S TO THE V ERTIC AL CURV E OF THE board between nose and tail. Rockers may be described as either heavy (steeply curved) or relaxed (less curved) and may be either continuous (a single curve between tip of nose and end of tail) or staged (distinct flat section in middle portion of board). The nose rocker or flip is the curve between the front tip and the middle or flattest portion of the board, and the tail rocker or kick is that between the tail and the middle/ flattest portion. An increase in flip helps keep the board from “pearling”; larger boards often require a greater flip.

Nose Rocker

Tail Rocker

57 Flip in Nose

Flip in Tail

3"

2"

4"

2.5"

5"

3"

More rocker = more drag

A larger kick adds maneuverability and lift to the tail at speed and provides tail sensitivity in critical turns. More relaxed rockers help the board to handle better on flatter sections of water, while heavy rockers increase the board’s overall form drag but also give true lift when reaching planing speed and have a smaller turning radius.

The board’s rails and deck may also be referred to as having rocker. A board with a v-shaped tail, for example, has had the lower/ outer portion of its rear rails reduced, increasing its tail rail rocker. Having a flat, even deck rocker will increase a board’s flexibility, while a convex deck rocker creates a board that is thicker along the board’s stringer and stiffer in the water.

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PARTS OF THE SURFBOARD (Continued)

Chapter 03

58 Nature & the design Process

Fins

FIN

T HE SU R F BOA R D FIN IS A STA BILI ZING RU DDER fixed to the rear of the surfboard to prevent it from sliding sideways.

In the early days, surfers would stabilize the board by hanging the toes of their back foot over the edge of the board and would steer by putting their foot in the water. The innovation of a skeg in 1936—by either or both of Woody “Spider” Brown or Tom Blake—revolutionized surfing, allowing surfers to direct the board’s momentum and providing more balance while turning.

Huntington Beach The Inertia Anastasia Petukhova

THRUS TERS & TRI - FINS

The tri-fin’s design attempts to incorporate the glide of a longboard and the performance of a shortboard into one single layout. The additional fins ensure that even when riding down the line, two, or at least one, vertical control surface is in black water (not unstable foam) which allows riders better turning capabilities. In a Thruster, the symmetric, usually larger, single center fin is flanked by twin asymmetric, cambered fins. The camber is angled front in and top in, directing energy from the incoming wave to lift the board and straighten it, not dissimilar from the force vectoring provided by the geometry of a rocket’s nozzle.

QUAD

A “Quad” four fins, typically arranged as two pairs of thrusters in wing formation, which are quick down the line but tend to lose energy through turns. The energy is lost as the board goes up the wave because the fins are now vectoring energy from the oncoming water toward the back of the board, bleeding speed.

NUBS TER

Created by professional surfer Sean Mattison as a rear stabilization fin and dubbed a “guitar pick”, the nubster was designed to be used as a fifth fin. The Nubster helped professional surfer Kelly Slater win a number of contests in New York and Portugal in 2011.

59

Hollow Wo oden Surfb oards

TYPES OF SURFBOARDS

Chapter 03

60 Nature & the design Process

Organic Wooden Surfboards Flama Surfboards

Wefi Surfboards Elitism

S U R F B OA R D S C OM E I N A L L S H A P E S and sizes, but for the most part, they all fall into one of a few major categories. These groups distinguish the surfboards by their basic shape and how they are best ridden.

The most common types of surfboards today include the: fish, shortboard, hybrid, gun, funboard and longboard. There are also a number of other designs and configurations which are commonly grouped into the â&#x20AC;&#x2DC;otherâ&#x20AC;&#x2122; category including stand up paddle boards (SUPs) and tow-in boards 10" 9" 8" 7" 6" 5" 4" 3" 2" 1" 0" Fish

Shortboard

Common Sizes: 5'2"- 6'4" long 20"- 22" wide

Common Sizes: 5'5"- 6'4" long 16"- 19" wide

Hybrid Common Sizes: 6' long or more

Gun Common Sizes: 6'- 10" long

Funboard Common Sizes: 6'6"- 8' long 20"- 22" wide

Longboard Common Sizes: 8'- 9' long

61

Shor t b oards

TYPES OF SURFBOARDS (Continued)

SHOR TBOARD

SINCE T HE L AT E 1960’S W HEN Gordon Clark created the optimum formulation of urethane foam, many surfboards in Chapter 03

common use have been of the shortboard

62

variety between 6 feet and 7 feet in length

Nature & the design Process

ish tail, typically with three “skegs” (fins) but

with a pointed nose and a rounded or squarsometimes with two or as many as five.

Surfers generally find a shortboard quick to FISH

US UA L LY A SHORT S T U BB Y B OA R D U N DE R 6 F E E T (1.8 m) in length developed from kneeboards in the 1970’s by Steve Lis. Other prominent fish shapers include Rich Pavel, Skip Frye, Larry Mabile and Steve Brom. Primarily a twin fin set up with a swallow tail shape and popular in smaller waves, the fish enjoyed a resurgence in popularity in the early 2000’s after legendary surfer Tom Curren rode

maneuver compared with other types of surfboards, but because of a lack of flotation due to the smaller size, the shortboard is harder to catch waves with, often requiring steeper, larger and more powerful waves and very late takeoffs, where the surfer catches the wave at the critical moment before it breaks.

one during an ASP event at Hossegor. Note, any type of board (such as

A bonzer is a variety of surfboard created by

shortboard or mini-longboard) can have a fish tail, and these are

the Campbell Brothers with 3/5 fins with

commonly referred to as a “fish”, but they lack the other properties of

double concave channels. The manufacturer

a traditional, or “retro” fish as described here.

claims that these channels create a venturi effect which guides the water the surface of the board through a narrowed passage.

Asilda Photography Surfers Anastasia Petukhova

HYBRID

MODE R N H Y BR I D B OA R DS A R E US UA L LY 6 F E E T to 8 feet 6 inches (1.8â&#x20AC;&#x201C;2.3 m) in length with a more rounded profile and tail shape. Surfed in smaller waves with any fin set up, they are more about having fun than about high performance or tricks.

Hybrids can be easier to ride for beginner surfers and generally perform well in surfing conditions where the more traditional long and short boards might not.

GUN

B I G WAV E B O A R D S O F L E N G T H 7 T O 1 2 F E E T ( 2 .1 to 3.7 m) are considered guns. These have a thin, almost needle-like profile with single, quad, or thruster fin set up. It has the appearance of a shortboard but at a longboard size. Guns are often used at big waves locations such as Waimea Bay, Jaws (Hawaii), and Mavericks.

FUNBOARD

T HE F U N BOA R D COMBIN E S EL EMENTS OF BOT H shortboards and longboards and are generally midsized, usually 7 to 8 feet (2.1 to 2.4 m) long. The funboardâ&#x20AC;&#x2122;s design allows waves to be caught more easily than a shortboard, yet with a shape that makes it more maneuverable than a longboard; hence it is a popular type of surfboard, especially among beginner surfers or those transitioning from longboarding to the more difficult shortboarding. Funboards are considered a good combination of the speed of a longboard and the maneuverability of a shortboard.

63

Longb oards

TYPES OF SURFBOARDS (Continued)

Chapter 03

64 Nature & the design Process

T H E L ONG B OA R D I S P R I M A R I LY A SI NG L E - F I N N E D surfboard with large rounded nose and length of 8 to 12 feet (2.4 to 3.7 m). Noseriders are a class of longboards which enable the rider to walk to the tip and nose ride. These are also called “Mals”, a shortened form of “Malibu boards”. They range from 8 to 14 feet (2.4 to 4.3 m) long, or 3 feet (0.91 m) taller than the rider in overall length. The advantage of a longboard is its substantial buoyancy and planing surface enable surfers to ride waves generally deemed too small to propel a shortboard. Longboards are more suitable for beginners because of the board’s size and ease of catching waves. In the proper conditions, a skilled surfer can ride a wave standing on the nose of a longboard with his/ her toes over the nose’s edge: in this way, with the “toes on the nose”, the surfer can “hang ten”.

Orange County The Inertia Dylan Lucas Gordon

It was not until the late 1950’s and early 1960’s when the surfboard design had closely evolved into today’s modern longboard. The introduction of polyurethane foam and fiberglass became a huge technological leap. In the 1960’s, the longboard continued to remain CL A SSIC LONGBOARDS

popular as its material changed from balsa wood to fiberglass and polyurethane foam.

LONG B OA R DS A R E T H E OR IGI NA L A N D V E RY F I R ST

In the 1960’s, the introduction of the short-

variety of board used in standup surfing. Ever since the sixth-century

board, averaging 6 feet, 6 inches (1.98 m),

CE the ancient Hawaiians have used 8-to-30-foot (2.4 to 9.1 m) solid

allowed surfers to make tighter turns, quicker

wooden boards when practicing their ancient art of Hoe he’e nalu.

maneuvers, and achieve faster speeds, thus

Surfing was brought to the Hawaiian Islands by Polynesians and has

radically changing the way people surfed.

since become popular worldwide. The ancient boards were carved

This “revolution” nearly made longboards

and fashioned out of solid wood, reaching lengths of 10 to 14 feet (3.0

obsolete for all practical purposes. But in the

to 4.3 m) long and weighing as much as 150 pounds (68 kg). Both

early 1990’s, the longboard returned, inte-

men and women, royalty and commoners surfed. But the longest of

grating a number of the design features

boards (the Olo) was reserved for royalty. During the 19th century,

invented during the shortboard revolution.

some extreme western missionaries actively discouraged surfing,

Surfers rediscovered the grace and poise—

viewing it as sinful. Surfing almost died out completely. In recent

the “glide”—of the longboard, and the fun of

times replicas have been made of Olo’s and alaia’s by experienced

classic maneuvers that are not possible on a

surfers and shapers wishing to explore the roots of the sport.

shortboard. In some circles the battle between

By the early 20th century, only a handful of people surfed, mostly at Waikiki. But there, it started to grow again. Beginning in 1912, Duke Kahanamoku, a Hawaiian Olympic swimmer in the early 1900’s, brought surfing to mainland United States and Australia. Because of this, Duke is considered the “Father of Modern Surfing”. From that point on, surfing became an integral part of the California beach life style. In Malibu (in Los Angeles county), the beach was so popular amongst the early surfers that it lent its name to the type of longboard, the Malibu Surfboard. In the 1920’s boards made of plywood or planking called Hollowboards came into use. These were typically 15 to 20 feet (4.6 to 6.1 m) in length and very light. During the 1950’s, the surf trend took off dramatically as it obtained a substantial amount of popularity as a sport. The design and material of longboards in the 1950’s changed from using solid wood, to balsa wood.

The length of the boards still remained the same at an average of 10.5 feet, and had then become widely produced.

longboards and shortboards continues. But many surfers live by a philosophy of finding the joy of surfing a mix of boards and surfing styles to suit the waves of the day.

65

Longb oards

TYPES OF SURFBOARDS (Continued)

Chapter 03

66 Nature & the design Process

MODERN LONGBOARDS

THE T WO PLUS ONE

T HE MODER N LONGBOA R D H A S

T H E 2+1 L O N G B OA R D I S T H E M O S T

undergone many changes since its earlier

versatile board within the longboard family,

models in the past. Today’s longboard is

offering greater maneuverability. Sometimes

much lighter than its predecessors. Its poly-

referred as a “single-fin with training wheels”,

urethane foam and fiberglass design allows

the 2+1’s fins actually takes the features of the

less drag on waves. Today’s longboards are

classic longboard and the Tri-fin. The fins of

typically 8 to 10 feet (2.4 to 3.0 m) long,

the 2+1 takes the rigid stability of a classic

although some ride boards up to 12 feet (3.7

longboard, and fuses with the strength and

m) in length. Additionally, there is a revival of

drive of a Tri-fin.

stand-up paddle-based surfing with boards up to 14 feet (4.3 m) in length (for stability).

The classic single-fin longboard retains much

MINI TANKER

of its classic design including a single fin,

T H E M I N I TA N K E R I S B A SIC A L LY

weight, and considerable buoyancy. A long-

a shortened longboard shape that utilizes the

board with a single fin allows the board to

same design elements and enhanced maneu-

pivot turn in order to remain in the curl of the

verability of the longboard due to its shorter

wave. Due to recent advances in technology,

shape. These boards are normally ridden by

the longboard has expanded its family into

women and children which provide smaller

different variations of the classic longboard.

individuals with much more control than your traditional 9 foot longboard.

THE MALIBU

N A M E D A F T E R M A L I B U, C A , T H I S racy longboard shape is a little narrower than most, with slightly pulled in nose and tail sections for extra maneuverability on Mailbu’s famous right hand point breaks. This classic shape has been ridden and praised by experienced surfers for its maneuverability and performance. Classic tricks that can be performed on a Malibu are “Hang Fives” and “Hang tens” whereby the surfer walks to the nose of the board and hangs 5 or 10 toes over the nose, the “soul arch”, drop knee turns, head dips, switch stance maneuvers, and so on.

67 OLO

OR IGINA L LY

RESERVED

FOR

Hawaiian royalty due to its size and weight, these wooden boards can exceed lengths of 24 feet (7.3 m) and reach weights up to 200 pounds (91 kg).

AL AIA

A T R A DI T IO N A L F I N L E S S WO O D E N surfboard, typically ridden by ancient native Hawaiians. The surfboard typically runs 17 feet (5.2 m) 200 pounds (91 kg).

TANDEM Vintage Car with Surfboards Influx

T H E F I R ST STA N D U P S U R F B OA R D

Adrian Flux

ridden in Australia by Duke Kahanamoku and Isabel Letham is an oversized longboard with enough volume to support two people.

Glossary of Surf

68 Common surf terms & expressions

BUZZY TRENT

“Waves are not measured in feet and inches, they are measured in increments of fear”

OF SURF

0째 0' 0" w ~ prime meridien, greenwich

GLOSSARY

69

Layback Elitism Francesco Palattella

â&#x20AC;&#x153;A surfboard is a beautiful Glossary of Surf

70 Common surf terms & expressions

and marvelous synthesis of ideas and curves that links man with nature.â&#x20AC;?

S T E V E CO L E T TA N AT U R A L C U R V E S S U R F B OA R D S

71

The Deeper Side of Surf Photography The Inertia Rich Brooks

GLOSSARY OF SURF A

AIR / Another term for Aerial (qv) or descriptive of the size of the aerial achieved, example “I got some serious air on that last aerial”.

AER I AL / A trick where the board takes off from the lip of a wave and after travelling lands back on the face of the wave and continuing.

A-FR AME / A peak-shaped wave, with nice left and right shoulders, and the highest point of the crest in the middle of the peak.

ANK LE SLOP / Waves too small to ride.

Glossary of Surf

A XE /A XED / A heavy wipeout, usually involving the wave’s lip impacting directly onto a surfer. Also called drilled, pummeled, etc.

72 B Common surf terms & expressions

BACK H AND / Surfing while facing away from the wave (also, backside).

BACK SIDE / Refers to the position in which you are facing the wave.

Surfing backside means that the posterior portion of your body is facing the wave face and your anterior portion is facing the beach.

BACK PADDLE / paddling in front and around someone to take the closest spot to the wave peak or takeoff spot when they think that spot is theirs BAIL , BAIL OUT / To abandon or ditch one’s surfboard before getting wiped out by the wave, either paddling out, or while riding the wave.

BAR NEY / A new/untalented surfer. Also see jake; kook.

BAR R EL / The space inside a hollow, breaking wave between the lip and face. A surfer may be completely hidden from view during a barrel ride, especially from shore. Another name for “tube” or “shack-tar”.

BEACH BU NN Y / A general American popular culture term for a young woman .who spends her free time at the beach. In surf culture it may also refer to a female surfer. Beach bunnies are known for the amount of time they spend sun tanning and are usually represented wearing bikinis,” see w:Muscle Beach Party and w:Gidget.

BEACH BR EAK / Waves breaking on a sand bottom beach.

BLOW N OUT / Surf condition in which either onshore (most prominent) or offshore winds have eliminated the ridable sections of waves, reducing them to chop or mush.

BODY SUR FING / Surfing a wave using only the body or minimal equipment such as fins (flippers) and/or a hand surfing device.

BOMB / Bomb means a very large wave, well beyond the session’s normal wave size.

BOMBOR A / Big waves breaking further out (over submerged rocks) and isolated by deep water. Also called bombie or cloudbreak.

BOOGIE BOAR D / A short, soft foam board used for bodyboarding.

Also known as a body board or a sponge or (in Australia) esky lid.

BOOST / To take off from a wave into an aerial, jump from the lip of a wave.

BOT TOM / The lowest section of the face of an unbroken wave. The lower surface of a surfboard.

BOT TOM TUR N / A turn at the bottom of the wave face.

BROCEANOGR APH Y / The ability to discern a good surfing location or predict good surfing C

CAUGHT INSIDE / When a surfer is on the “inside” and trapped between the shoreline and breaking waves. Oncoming waves can make paddling back outside difficult, hence being “caught” in an undesirable position. This usually means the surfer will have to wait for a lull between the larger breaking waves for a chance to slip into clear water. Caught Inside is also a 1996 book by Daniel Duane about his surfing experiences.

CH ANNEL / Design feature of a surfboard to guide water along its underside. A trench between sand banks or reefs. Often associated with a strong current.

CHEATER FIV E / To “cheat” a Hang Ten by having only five toes on the front of the board.

CHOPP Y / Surf condition in which the waves are inconsistent, broken, or generally irregular (see, Blown Out).

CLEAN / Smooth waves, usually good surfing conditions.

CLEAN-UP SET / A much larger wave or a set of waves, which breaks further outside than normal. A clean-up set usually “cleans” the line-up of surfers caught further inside.

CLOSE OUT / An undesirable situation in which a wave does not break uniformly along its length. Instead one or more sections of the wave break ahead of the section the surfer is riding.

CLUBBIE / (slang, Australia) Term used to describe a member of a Surf lifesaving club.

CUTBACK / A classic surfing move used to change direction when streaking ahead of the curl of a wave with a powerful turn back towards the breaking part of the wave (white water). Cutbacks are an important element in surfing as the maneuver repositions the surfer closer to the power of the wave. See also Roundhouse cutback.

D

DAW N PATROL / Literally going surfing at dawn. An early morning surf session before sunrise. This time usually offers the least crowded and cleanest conditions before the winds pick up.

DECK / The upper surface of a surfboard.

DEL AMMED / Slang for delaminated. A condition of surfboard fiberglass, usually on the deck, where the fiberglass has deteriorated and separated from the foam core, thus creating an unfavorable surface for standing.

DICK-DR AG / Slang for lying down on the board while riding a wave.

Derogatory term applied to those who are not good enough to stand up yet.

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DING / Damage, usually a hole or dent, to the surfboard.

DOUBLE OV ER HEAD / A wave twice as tall as its rider.

DOW N -T HE -LINE / A reference to the direction further along the crest of a wave from the location from where a surfer drops into the wave. The direction toward which the surfer is riding. Waves can also be described as “down-the-line” when the wall is long and fast.

DROP IN / Taking off on a wave that is already being ridden by another surfer. Contrary to good etiquette.

DUCK DIV E / A method for getting through a broken or large wave without being washed towards the shore. Basically, pushing the surfboard and one’s body under the wave.

DUDE / A fellow surfer; friend; companion. If you’ve caught a wave with a board, standing, kneeling or body then you’re one.

Glossary of Surf

E

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EDDIE WOULD GO / A reference to legendary waterman Eddie Aikau renowned for taking on waves others would shy away from.

EPIC / An adjective to describe an excellent surf session, a great wave, etc.

Example: “how was it yesterday? Ah dude, it was epic!”

Common surf terms & expressions

ESK IMO ROLL / A method for getting through a broken or large wave without being washed towards the shore. Basically, rolling the board over so the water rushes over the underside (which is facing upwards). Also known as a turtle roll.

F

FACE / Unbroken, forward-facing portion of the wave, where most waveriding occur.

FAR OUT / Used to describe an amazing wave ride experience.

FIN CHOP / Injury caused by the fins of a board, usually someone else’s.

FLOATER / Frontside or backside maneuver that involves “floating” over the broken part of a wave and re-entering the more ridable crest.

FOR EH AND / Surfing while facing toward the wave (also, frontside.

See backhand/backside).

FRONTSIDE / Refers to your body position in relation to the wave face.

Surfing ‘frontside’ means that the anterior portion of your body is facing the wave face and your posterior portion is facing the beach.

FU NBOAR D / A surfboard somewhere between a shortboard and a mini-mal, designed for ease of surfing in a range of conditions.

G

GET TING WOR K ED / (US Slang) A term for getting hit hard by a wave, a set, or wiping out in a spectacular manner. Example: “check it out, that dude got worked!”

GIDGET / Girl Midget, nickname of Kathy Kohner, young girl surfer.

GL ASSY / A very favorable, windless surf condition in which the texture of the ocean surface is ultra-smooth, like glass.

GL ASS HOUSE / The inside of a tube.

GNAR LY / Heavy, intense waves or situations. Very often overused.

GOOF Y-FOOTED / A surfer who places their right leg forward while surfing. This is more common for a left handed person, although may not necessarily relate to a person’s “handedness”. See also natural footed, the opposite stance.

GOAT BOAT / A mildly derogatory term used to describe a waveski or surfski used in the surf.

GOING OFF / A term to describe very good, consistent surf. Example: “check it out, bro. It’s just going off!” Also refers to a surfer who is surfing particularly well.

GR EEN ROOM / The inside of a tube.

GROMMET / Young surfer. Sometimes shortened to “grom”. Can also refer to children in general, not just those who surf.

GU N / A long narrow board designed for surfing big waves. The term comes from elephant gun, a big board being needed for big waves in the same way a big gun imagined necessary for big animals.

GUR FER / Girl Surfer H

H ANG FIV E / A long-boarding trick in which the toes of one foot are curled around the nose of the surfboard.

H ANG TEN / An advanced longboarding trick in which the toes of both feet are curled around nose of the surfboard.

HEAV Y / Powerful, difficult conditions where a surfer could be in danger.

HOBBLE-BOBBLE / An aerial launch with the added twist of flapping your arms like a bird.

HODAD / A highly insulting term for a non-surfer who poses to the surfing lifestyle. Also see kook HOLD DOW N / To be held underwater by a wave. A two-wave hold down is to be held down while two waves pass over. A hold down usually feels much longer than it actually is.

HU MPBACK / A type of wave that is really more like two because the more obvious, larger wave, has another wave developing from its wave face. Also known as a “double-up.”

I

IMPACT ZONE / Where the waves are breaking.

INDO FU N / A surfing term for diahorrea or stomach cramps, often associated with the poor hygiene and water quality experienced on surfing trips to Indonesia (Indo) INSIDE / The takeoff position on a wave closest to the curl than any other surfer. Also “caught inside”: being located inshore of the breaking waves or inside the impact zone or break line.

J

JACK ING / A wave condition in which a swell rises very quickly as it passes from deeper water to shallow water. A radical shoaling process caused by an extreme variation in water depth as the swell hits the shallow reef or ocean floor. Often creates very hollow and intense waves that appear to grow suddenly in height; thus “jacking up”.

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JA K E / (slang, Australia) A jake, or rockaway jake, is somebody in the line-up and unconsciously causing trouble or problems for their fellow surfers. A jake is usually a beginning surfer and surfers use jake similar to how netizens use newbie. See also kook.

K

K ICK OUT / A controlled exit from the wave by riding up and over the top of the wave.

K NEELO / (slang, Australia) A kneeboard rider.

KOOK / Any person who is in the line-up and unconsciously causing trouble or problems for their fellow surfers. A kook is usually a beginning surfer and surfers use kook similar to how netizens use newbie. Can also be used as an insult. See also jake.

L Glossary of Surf

L .A.HINCH / Used by certain surfers in Lahinch,Ireland. A parallel between Lahinch and Los Angeles.

L AY BACK / A maneuver where the surfer leans back off his/her board, usually during a cutback.

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LEASH / A cord used to prevent the board being washed away from the surfer. Surfboard leashes are usually attached to the ankle, whereas bodyboard leashes are usually attached to the wrist. Also called “leg rope”.

Also “ankle rope” in Australia.

Common surf terms & expressions

‘LEEN / The ‘Leen is a name used by surfers for Aileen’s, the famous big wave surfing beach in Ireland.

LINE UP / The line up is often mistakenly thought to be the line of surfers waiting for waves just beyond the breaking waves.

The phrase was originally used, and still is, to describe the line a breaking wave follows. From when the wave starts breaking, following the line of the reef or sandbank. The “line up” is used to describe the rideable part of the wave that a surfer will follow. To paddle through the line up is considered to be both dangerous and rude behavior. This is a mistake often made by many beginner surfers, resulting in frightening near misses or dangerous accidents.

LOCALISM / Term given to hostility displayed by local surfers to surfers visiting what the locals consider to be their break. The hostility can range from graffiti, verbal abuse in the line up, wiping of surf wax over the windscreen of the visitor’s car, to physical violence.

M

M ACK ING / (slang, US) When waves are really big and firing with massive size. The waves don’t have to be good, just big. Also, when the swell is peaking. (After Mack trucks.)

M AK ING THE DROP / Just after you have caught the wave and are swinging on to the lower part of the shoulder.

M AL / Short for “Malibu” in direct reference to the “Malibu board”.

MILF Y / An adjective that means extraordinary or exceptional. Originated in SoCal during spring 2006.

M ALIBU SUR FBOAR D / 60’s style longboard, made with heavy glass, long parrell 50/50 rails, and deep single fin. Made especially for triming, (walking the board) and for noseriding. Aussies use the term “mal” for most all longboards.

MINI M AL / Mini Malibu MUSH Y / A surf condition in which waves are crumbly and soft without any steepness or much energy. Gutless and weak.

N

NAMER / A surfer who publicly uses the name of a secret surfing spot.

The term is highly derogatory, as naming, especially on the internet, is considered a key causative factor for large crowds.

NATUR AL FOOTED / A surfer who places their left leg forward while surfing. This is usual for a right handed person. Often called “Regular footed” in the U.S. See also Goofy footed, the opposite stance.

NOA H / (slang, Australia) A shark. From rhyming slang, Noah’s ark — shark.

NOSE / The front of the board.

NOSE GUAR D / A rubber tip stuck to the nose of a board to reduce injury if it strikes someone.

NOSE R IDE / A maneuver in which the surfer walks to the front of the surfboard and rides on the nose. It is usually only possible on a surfboard of 8’ or longer.

NUG / Slang for a good wave (Golden Nugget)

O

OFF-THE-LIP / A re-entry. Turning the board quickly off the top of the wave to come back down into the face of the wave.

OUT-THE-BACK /OUTSIDE / The area outside of the lineup or break line where surfers in the lineup initially observe sets of waves as they approach.

Often a term used to warn other surfers in the lineup that a new set of waves is approaching.

OV ER HEAD / Wave heights taller than the surfer riding it. Often used as a measurement scale of waves such as 2 feet overhead, three feet overhead, double overhead, triple overhead. Etc. OV ER-THE-FALLS / The worst kind of wipeout in which a surfer is sucked back over the top of the wave as it breaks, and free-falls down with the lip (the most powerful part of the wave). This type of wipeout can cause bad injuries because the surfer will likely hit the reef or ocean floor.

P

PEAK / Where a wave forms in a manner that the surfer is able to go both right or left from the take off.

PEAR L / A wipeout caused when the nose or front of the surfboard digs into the water, generally causing the surfer to tip-off forward. Usually occurs when dropping into a steep part of a wave.

PIPELINE / Pipeline is a world famous surf spot on the North Shore of Oahu so known because it lays downs tubed waves like pipe being laid down.

POCK ET / The section of a wave just ahead of the broken section, where the face is at its steepest.

POINTBR EAK / Variety of surf break when waves wrap around a point of land creating perfectly lined up, peeling waves. The waves actually interact with the bottom contours just offshore of the point to refract and wrap around the point.

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POPE’S LIV ING ROOM / The inside of a tube. The same as green room.

PULL IN / The process of turning the surfboard up to enter the barrel or the tube.

PULL OUT / See kick out.

Q

QUIMBY / A novice, and often annoying, surfer.

QUIV ER / A surfer’s collection of boards.

QUASIMODO / A maneuver named after the character from the hunch back Notre Dame. The surfer resembles the Quasimodo because of his/her posture they are bending waiting to enter the barrel. Typically performed by long boarders.

R Glossary of Surf

R AIL / The edge or sides of the board.

R ASHEE / (slang, Australia) A Lycra rash guard surfer shirt.

R E-ENTRY / Turning on the lip of the wave to come back down into the face of the wave.

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R EGAR DO / (slang, Australia) A surf session that is undertaken despite adverse conditions, e.g., “It was totally blow, but we were dying to get our gills wet; we went for the regardo.”

Common surf terms & expressions

RICOS / Spanish word meaning rich, perfect. Ex: “I caught some ricos today.”

R IP / A surfer who rips is one who is seriously skilled, and often shows this off in the view of other surfers or spectators.

R IP CUR R ENT / A channel of water, or a current, heading out to sea.

Often simply known as a rip. Recognizeable by choppy whitewater and sea junk going out to sea.

ROCK ER / The longways curvature of the underside of a board. More rocker means a more curved board, less means a flatter board. Generally a flatter board goes faster, but some curve is needed to stop the nose digging into the water, or to “fit” the curve of the wave.

ROOSTER TAIL / The trail of spray when a surfer hits the lip very hard, causing spray to shoot out at nearby surfers.

ROU NDHOUSE CU TBACK / A complete 180° directional change in which the surfer turns from the shoulder all the way back into the curl or whitewater of the breaking wave, before completing the ride. A very advanced maneuver, which is difficult to complete if enough speed isn’t carried throughout the entire 180° turn. A roundhouse cutback is usually complemented by a foam bounce recovery off the approaching whitewater.

S

SAND FOR BR AINS / Term directed at surfers and other beach sports.

The term implies that the individual has no brain, only sand.

SCH W IP THING / an item used to scrape the wax from a surfboard. Often a deodorant lid or milk bottle lid is used to good effect.

SECTION / A segment of a total wave. It resembles what they call in music, “a bar or measure.”

SET / A group of waves, usually large, that come in from the “outside.”

Surfers usually paddle towards the outside (towards the horizon) when they spot a good set.

SH AR K Y / Surf conditions are cold and choppy with lots of churning. “It’s too sharky to surf today,” meaning, surf only a shark would like. Or if you’re from an area such as northern California that has a large shark population sharky is used to describe a spot that has more than the usual number of large sharks and has more than likely has had an attack or numerous sightings. “Yeah super fun spot but real sharky.” = great waves and big fish.

SHOOBIE / Used by surfers in South Jersey to describe a tourist who visits the seashore for a day (a daytripper), primarily to use the beach during the summer months.

Originated in the 1920’s, 1930’s, and 1940’s, deriving from the habit among daytrippers of bringing their lunch in a shoe box, thus depriving local businesses of the revenue the tourists would have spent on food. The term “shoobie” may sometimes now be applied to tourists who are more likely to wear shoes on the beach.

SHOR EPOU ND / A dangerous condition, due to high tide or larger surf, where the waves break in one single “wall” onto the beach, often in shallow water. Getting caught in shorepound can be an unpleasant experience. Also called “shorebreak” or “wally” in some areas.

SHORTIE / A wetsuit with short legs and short, or no, arms. Sometimes known as a spring or summer suit.

SHOULDER / The very edge of a breaking wave that is unbroken.

SHOULDER HOPPER / A surfer who deliberately takes off on the shoulder of a wave as opposed to its central peak or bowl, often out of fear and/or due to overcrowded conditions, usually not bothering to look for others already riding the wave and as a result outright or nearly dropping in on others (“shoulder hopping”). Almost always derogatory.

SHROP / To surf hard in the worst conditions. To surf at one’s best when the surf is particularly bad.

SICK / A superlative term applied to anything that is really good.

Ex: “That last air I busted was totally sick” SLOT / If a surfer is “in the slot”, he or she is riding a barrel.

SNAK E / (slang, US) (noun and verb) Used to describe someone who deliberately “drops in” in front of a surfer who has the right-of-way. Also, someone who quickly sneaks behind another surfer with the right-of-way, putting his/her self in position to take more waves. Example: “Watch out for that guy, he’s a serious snake!” Or: “You snaked me!”

SOUP / The white water of a breaking wave.

SPEED BU MP / Derogatory phrase used to describe a Bodyboarder.

SPONGER OR SPONGEBOB / Bodyboarder, typically used in a derogatory context.

STALL / A method to slow the surfboard to allow a wave to catch or overtake it. Performed by stepping to the tail of the surfboard or simply leaning back and resting one’s weight on one’s trailing foot.

STEAMER / A diving wetsuit with long arms and long legs. Also known as a “winter suit.”

STICK / A slang term for a surfboard STOK ED / Excited. (from stoking a fire)

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ST R I NGER / The wooden strip which runs the length of the board, designed to give strength and rigidity to the board. These can either be single, for short boards or lighter weight long boards, or double or triple stringers for longboards. Double and triple stringers are great for using longboards in more powerful or large waves, but add weight to the board.

STU / (slang, US West Coast) A “kook” or a “barney.” i.e. a new/untalented surfer. Can also refer to local college students who are ignorant of proper surf etiquette and usually of questionable surfing ability. Example: “watch out for that peak, it’s loaded with stu’s!”

SUR F / Collective term for the breaking and near-breaking waves at a beach, in which surfing takes place.

SUR F CAMP / Accommodations for surfers and surfing enthusiasts where you can learn how to surf.

SUR FING / Not a sport. But a lifestyle...but technically, a sport.

Glossary of Surf

ST Y LE / You can be a great technical surfer, but without style and flow you are just a surfer. To be a great surfer, you need to draw influence from the past and identify your own way of surfing the wave.

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SW ITCHFOOT / Riding with one’s wrong foot forward, ie. opposite to one’s usual natural/goofy preference. Or, a surfer who can ride with either foot forward. Generally such a surfer will ride forehand in both directions.

T

TAIL / The rear of the board.

TAIL PAD / Rubber non-slip pad stuck to the top of the board near the tail where the surfer’s rear foot goes. Used instead of wax, generally used only on a shortboard.

TAK E OFF / To catch a wave and begin the ride.

360 / Pronounced “three-sixty”. A trick involving turning the board through a full circle on the face of the wave.

THRUSTER / A surfboard with three fins. Designed by Simon Anderson in 1980 and now used on almost all shortboards.

TOMBSTONING / The condition of a surfboard connected to a submerged surfer after a wipeout. A surfboard that appears to be bobbing up and down on the surface of the ocean due to the underwater anchoring point, e.g., the unseen surfer, is tombstoning.

TUBE / (noun) The inside of a hollow wave. (verb) The act of surfing inside the curl of a breaking wave.

TUBUL AR / Awesome, or really great. Describing a wave as tubular because it forms a tube.

TURTLE ROLL / A paddling maneuver to help reduce resistance when paddling through whitewater, by rolling the surfboard upside down (with the fins up), and then holding on to the rails of the surfboard while underwater as the whitewater passes overhead. Used especially with longboards because the board’s increased flotation makes “duckdiving” (the preferred method) difficult.

V

V ICK IE / (slang, US) Term for Australian surfers. Not very polite. Implies that Australians are descended from convicts. Sometimes used as a comeback for “Seppo” (which comes from Aus. rhyming slang: Seppo is short for Septic Tank, which rhymes with Yank).

W

WALLY / A condition where both sides of a wave collapse inward instead of curling into a wave, leaving nowhere to drop in. This leaves something visually similar to a concrete wall. See also Shorepound.

WALTER ST Y LE / A reference to a good surfer/lifeguard whose riding style is smooth and relaxed. “He is riding Walter Style.”

WA X HEAD / Obsolete term for a keen surfer. It comes from the 1960’s when boards were heavy solid wood and were carried balanced on the head, wax-side down, getting wax in the surfers hair.

W ETSUIT / A neoprene (rubber) garment used for surfing in winter or when it is cold. Originally invented by Jack O’Neill, founder of famous surfing brand, O’Neill wetsuits. Also known as a ‘wettie’ in Australia.

W ET TIE / (slang, Australia) A wetsuit.

W ET TIE WAR MER / (slang, Australia) Urinating in one’s wetsuit. Widely practiced, though it’s not a good idea because the chemicals in urine can cause the rubber in a wetsuit to deteriorate more rapidly than normal. In cold water it helps one feel warmer though.

W H ACK / Slang term for a Re-entry. Where maximum spray is thrown out the back of the wave from the vigorous motion of the board hitting the top of the wave.

Also known as “Thwack” or “Shwack” W HITE WATER / A frothy, broken wave.

W IPE OUT / Terminating a ride, ungracefully (as in falling off your board!).

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“kai po‘i, kuapã” HAWAIIAN: “BREAKING SURF”