Lauren Yater of Yater Surfboards
Huntington Beach locals at George's, 1970's. Chuck Dent riding the nose; up above.
Sydney Harbor, Australia photo courtesy of More Surfboards
Mark Pridmore photo taken by his 10 year old son Cain.
Hey there, just thought I would let you guys know a bit of the stuff that happening here with MORE Surfboards lately. Its been a bit funny with one week being flat out with orders and then nothing at all the next. A sign of the financial times I guess ???
Although most of my orders have been coming from the Sydney area where I hear boards are much dearer than my $499. I have also just shaped my first blank from a foam I am trialing, its called CDD ( combined dual density ) and its a combination of EPS and PU and has lots of potential. It will be glassed in epoxy resin and should be very light but still strong due to the epoxy.
I am very keen to see how it surfs and I plan to do many MORE in the near future if its as good as first reports. Asher Pacer and Mick Fanning are geting boards shaped from CDD in the next batch so they will be giving the blanks a good testing. The blank I got was only the 5th made so it is still early days.... Nick Carrol is still riding his Fat-Bat and his first bit of feedback said " the workmanship in this board from design to the finish is wonderful and the fins by Phil are awesome as usual, this board feels very solid when turning hard from the tail ".
I was pretty happy with that and can’t wait to hear some more feedback after he has surfed it some more. The Surfing Life Board Bible is due out at the end of November and we have a Fat-Bat featured in the board forum, so it will be interesting to see what response this design gets.
We have a cool competition starting through www.surfingatlas.com.au and you can win a new custom designed MORE Surfboard. It's a photography comp, where the best and sickest shot will score you a new shooter, whatever you want, single fin, twinny, quaddy or even one of my new 6 finners I am starting to play around with...The 6 finners are more than just a gimmick, they are going really well so far but they are still being fine tuned.
The 'MORE the merrier' project is moving along nicely with the AquaBat still on Sydney's northern beaches for a little longer before it will continue its journey south, please check the updates on More Surfboards, Australia
Impossibles photo courtesy of More Surfboards
The Case for Polyurethane
By Ned McMahon
The past few months have been an interesting roller coaster ride from the panic of lack to an over abundance in the surfboard blank world. The door of opportunity has been thrown wide open to many new types of manufacturing methods and materials. Some materials have been on the fringes of the surf world for years, while other new ideas finally had a space to surface.
Considering all these material alternatives is an important process toward ensuring we have the best materials to make our beloved surfboards. “The Best”, of course, has many components – strength, durability, environmental impact, aesthetics, ease of production, and cost. Now that many alternative methods have been investigated, once again polyurethane foam blanks are rising to the top.
We (all surfers) owe a debt of gratitude to Mr. Clark. For over 40 years he has given us a good quality, durable material that was easy to work with, customize with color, and affordable. Clark’s continued advances in his product quality and variety (with the help of close tolerance blank plugs from Rusty) have allowed many to become shapers that may have never even attempted mowing foam with plugs and densities from the beginning years.
Even though Clark shut down, he continued to develop his product to the end. He was working on new formulations and was actively looking for the next product or tool to make his operation even better.
Now, it’s a new day with many choices of materials to build surfboards. Some materials and methods such as the hollow carbon and parabolic wood railed surfboards are great technology and produce great products and they aren’t practical for large production runs nor do they allow for the ultimate customization that many surfers have become accustomed to.
EPS or polystyrene has made some big inroads to the market now as well. To some, EPS looks to be the best alternative to polyurethane. Polystyrene is a material that was developed as a result of the war effort of the ‘40s and has been is use since then. When Clark was originally starting his blank production, he had the opportunity to use polystyrene too so why did he choose polyurethane back then?
Polystyrene is either extruded or expanded from bead. The extruded foam comes in big blocks that need to be re-cut (hotwired) into a blank form prior to a stringer being glued in. The expanded polystyrene is also expanded into a mold usually in block form too. Today molds have been made into a shape like a regular blank that the foam expands into. Since the molds are metal, they are very expensive and difficult to make. The material is also more difficult to shape cleanly.
Polystyrene does have some advantages. One advantage is the foam can be made in very light densities. Another is that the polystyrene maintains good strength because the foam remains a constant density throughout its thickness. Some surfers also like the feeling of extra buoyancy a polystyrene board offers.
Polystyrene has its disadvantages too. Polystyrene boards are most often glassed in opaque finishes because the foam doesn’t finish in the shaping process very cleanly. Normally the foam must be sealed before it is glassed and it must be glassed with epoxy resins. Workers exposed to epoxies are more likely to have adverse reactions to the resin than with the polyester resin used with polyurethanes. The foam can be more difficult to shape. While surfers find the buoyancy good, the stiffness is something that doesn’t feel as good.
So this brings us back to polyurethane. Polyurethane foam is expanded in molds that are less expensive and easily made therefore allowing for many more choices in blank size and shape. The foam is relatively inexpensive. The foam takes colors and paints well therefore infinite customization is possible from the shaping to the finish. The foam finishes very nicely when it is produced correctly. Production problems range from air bubbles in the foam, pour marks due to uneven distribution of the foam in the mold, varying density and soft spots from improperly measured volume and placement in the mold, and softer areas toward the center of the blank.
TDI Polyurethane is environmentally on the way out. The “T” is for toluene and its use is slowly becoming banned from the US. Some manufacturers are still allowed use it through grandfather clauses and expensive factory retrofits. Workers must also be well protected when working with toluene. Environmental concerns are ever present and on the rise with surfers becoming increasingly interested in environmental issues on all fronts. Yet several TDI blank plants have set up just south of the California border for cheap labor and, more importantly, to get around any EPA issues in the US.
Thousands of blanks have arrived into the US from plants around the world - South Africa, Brazil, Argentina, Spain, Australia, China, and the UK. The vast majority of these manufacturers use the TDI process. In addition to the TDI, the viability of shipping a lightweight product like foam in containers around the world just doesn’t make sense. Supply by shipping container around the planet is hardly green thinking. Shipping of just the raw materials needed to make foam is at least 18 times more fuel efficient than shipping blanks.
There is another polyurethane now available and it is something that even Clark was working on before he called it quits. This polyurethane is a foam system based on MDI (methylene di-phenyl di-isocyanate) rather than TDI. The main health hazard associated with isocyanates is inhalation of aerosols which can cause respiratory problems. When blowing rigid foams such as surfboard blanks, there is an additional hazard of partially cured foam dust from the de-molding process. MDI is by far the least hazardous of the commonly available isocyanates since its vapor pressure is some 2500 times less than that of TDI at ambient temperatures.
Modern MDI blank plants, such as Homeblown US in San Diego, rely on a computer controlled pouring machine that ensures the foam is delivered precisely in the right amounts to each part of the mold. The result has an astonishing consistency in production with minimal waste. The air voids and pour marks are eliminated and there is a consistent density and hardness through the entire thickness of the blank. All this adds to MDI foam being 15-25% stronger in compression than any other TDI foam of the same density.
Finally, we are back to where we started (but not quite). Mr. Clark knew back in 1960 what a fantastic material polyurethane foam was for the manufacturing of surfboards. He had the opportunity throughout his over 40 years in business to experiment with different materials and polyurethane still won out. Polyurethane is easy to work with, takes color beautifully for infinite customization, is strong, flexible, and relatively inexpensive and it remains the best surfboard system today.
The one thing about polyurethane is the choice of TDI vs. MDI. All the TDI companies of the world - at their best – can only hope to achieve what Clark left behind. Clark knew that MDI was the future of polyurethane, and polyurethane is still the future of surfing.
SHAPING THE ART FORM
BY STEVE PEZMAN
The article appeared in Surfer Magazine back in 1974.
Hank Byzak of Pure Fun Surfboards
Today in 1974, there are many more surfboards shapers within our sport than there used to be. Probably in the hundreds.
But relatively few are really fine shapers who have put in the years of learning to read foam and to control their tools, so necessary to create out of a given volume of foam a predetermined shape.
(Rather than being satisfied with what they seem to have ended up with when they put their fine-sanding block down.)
The shaping of surfboards is a remarkable art form spinoff from the sport of surfing, easily as involved as the act of riding a wave.
In fact, there are striking similarities in the terminologies of both surfing and shaping.
Even back in the early days of draw knives and varnished wooden planks, those who had the knack of creating those long, heavy, spiritual spears were considered to be a notch above those who could only ride them.
In present times, even with the use of easily shaped foam, becoming a master shaper involves developing and intimate and complex knowledge of the medium and the tools used to form it.
It becomes a full-time, absorbing task to keep abreast of the constantly evolving blanks and surfboards theories.
There are a staggering amount of variables. Different batches of foam have different densities and textures. Every mold or plug has a different displacement of volume and curve. Every glue-up has a chance to vary.
The starting point for a shaper is practically never the same twice in a row. Thus, shaping becomes a “zen” brain game of sorts, challenging your ability to see what’s there, and act accordinly, requiring a combination of efficiency, concentration, creativity and manual skills.
At first you begin to develop the barest abilities to look at a blank or shaped board and read its contents. You learn to gaze across a plane of foam, form one angle then another, and see it as flat and true, tilted, bumped, dipped or what.
You learn to distinguish between a low dip in a line as opposed to high spots on either side of a point on that line that creates the illusion of making that spot on either side of a point on that line that creates the illusion making that spot look low.
You become capable of comparing the widths, tapers, and slopes of bands you’re cutting on either rail. You get to the point where you can step back and see enough in a shape to like it or not, for specific reasons rather than for gut feelings.
To be able to look at and read foam, you use shadow-casting lights and silhouette. The space you shape in must be large enough to allow you to step back from the shape and view it in its entirety.
And the walls should be dark to form a contrasting backdrop for the white light reflecting foam. Lighting is used to create form-defining shadows. Shapers preferences for lighting setups vary between top lights, side lighting and combination of both.
Side lights have a tendency to create more readable shadows when a blank is flat on a shaping rack, while top lights have a tendency to fill in light and obscure shadow.
Both side and top lights are generally made of eight-foot fluorescent light boxes, and their distance from the shaping rack, as well as elevation in relation to the blank on the rack, greatly affects the intensity and coverage of the light.
Many shapers who prefer top lighting are in preferring not to see what they’re doing (what marks their tools are leaving) unless they shape the entire board in a vertical, on-edge position in the racks.
It takes shapers quite a few blanks from a particular mold to learn it qualities. By learning, I mean knowing at the start, without having to look, where the volume of foam is and where the flaws are (there have been good blanks, but never an absolutely perfect one).
On a blank from a badly warped mold, you can spend fifteen minutes just straightening it out, and end up with such a reduced amount of foam that you have little choice as far as thickness, rocker and contour are concerned.
Merely being able to look at a blank and read it correctly can take up to a year or two of full-time effort. Basically, looking involves scanning the blank from many angles while comparing one longitudinal half to the other and seeing what’s there to work with.
Initially everything looks the same, but after a few minutes you begin to see things.
The lines and planes a shaper’s looking at are the top line or deck from nose to tail, along the stringer and the outer portions of the deck both longitudinally and crosswise from nose to tail, and the same for the bottom.
A shaper will also step back and look at the entire length of the blank edge on the thickness flow (flow of the volume between the top and bottom lines).
As a shaper learns to read lines and planes, he begins to see them as a series of straights comprising what seems to the untrained eye to be a curve. The task becomes one of converting these straights and the points where they meet into a flowing, true, evenly breaking curve.
To remove a high point from a line means touching just that high point with your tool and not the low on either side (the same holds true for removing a low point). Since your tools are all planning on the existing surface, unless you’re merely duplicating or compounding your earlier mistakes.
Eight years ago, shapers were faced with making 10-foot boards out of 11-foot blanks. They had to remove tremendous amounts of foam and maintain large, true planes of bottom and deck while doing it.
They also had to keep ten feet or more of rail line and contour the same on both sides.
The shapers who are still into it from this era are generally superior tool users and foam readers to those who started more recently in the short-board era, with blanks being very close. Plus, those old boards had 50-50 rails rather than the low-cornered ones of today that are much easier to read while shaping (Hynson’s no fool).
To accomplish this massive foam removal, shapers developed individualized systems or sequences of things they did to a blank every time the same way in the same order. A truly flexible system could be adapted to any shape.
With slight alterations due to different tool preferences and blanks, etc., a system might go something like this: (1) Look at blank if major bumps, dips or glue-up are way off, correct with planner. (2) Draw outline and cut out and saw. (3) Adjust rocker and bottom and deck surfaces to proper thickness and flow. (note: this procedure can be done with step # 1 also.)
(4) Band rails with planer (to begin with a series of bevels which break the rail curve into the deck). (5) Fine-contour rails and blend into bottom and deck with sureform. (6) Clean up center stringer and fine tune nose and tail with block plane. (7) Rough sand with block. (8) Screen rails. (9) Fine sand flats.
Through every step, you’re reading the blank and making adjustments and corrections. Shaping systems are constantly being evolved by the shaper. Basically, they are confined to the tool-use abilities the shaper has mastered.
The advent of “production shaping” in the early to mid-60’s created master tool users who developed new techniques such as the use of power saws for outlining( which sounds scary, but was a break through in the sense that the more efficient the tool, the more perfect the cut), and power disk sanders for sanding flats and blending curves.
The logic being, aside from speed, that the larger the surface you could effect in one pass, the fewer bumps you shape in.
It’s funny, but the common belief that the longer a shaper takes to do a board, the better it will be is more often than a fallacy. The whole idea in shaping is to touch the foam as little as possible in the most direct fashion with the most efficient tool.
And that takes knowing at the beginning where you want to be at the end.
Templates are constantly evolving along with board theory. Basically, a shaper keeps revising a line he’s been working with for a long time, rather than designing an entirely new one each time. Using a template is another art in itself.
From one template, many different outlines can be created by combining portions of one or more templates. Sometimes an outline on one side of a board represents the sum of three or four different sections of template all blended smoothly together. It can b tricky to duplicate such line on the other side of the blank.
The power planer is used to remove areas of foam from the decks and to carve tapered bands, the first step in turning the rails. You use a planer just as the name implies, planning the tool on its rear planning surfaces, holding the tool so that you’re cutting a controlled line with a controlled angles to the blank (which may want to change during the cut).
Learning how to control the planer as you extend your arms without altering the angle of the planer, while adjusting the depth of bite the blade is taking, takes time. Learning how to swing the tail of the planer out when coming to a sharp upward curve so that the length of the planer doesn’t bridge the curve, inadvertently changing your angle of attack is another tricky and time consuming lesson to be learned.
Many shapers cut their planers down to reduce this problem.
Saw are basically used for outlining. The whole art of using this tool is to remember you’re creating a curved, vertical plane (the thickness), not just cutting along a line. Here, ability is centered around holding the tool in a constant up and down attitude while following the line.
Sureform a grating tool about ten inches long and an inch or so wide. This is the crutch tool, the hardest to control accurately, as far as cutting surfaces goes, and the hardest to tell afterwards what you’ve actually done to the board.
The sureform is properly used in a plane conscious way, rather than for scrubbing on spots. It’s used as a blending tool, and can cause a hell of a lot of bumps if you’re not delicate or try to attack a large surface of foam with it. Many shapers overuse the tool because it feels so direct and craftsy, but it’s a mistake.
Block plane, if you had to choose one hand tool with which to shape a board, this would be it. It’s easily controlled and leaves a nice, even surface, compared to a sureform. However, the block plane is basically used for flushing the center stringer and fine tuning the nose and tail.
It’s also good for altering the top and bottom line of a rail band.
Sanding Block, you use a block (as big as you can control) whenever sanding so that you cover a large area with fewer strokes and with a constant angle and pressure. Sanding is used for blending, fine contouring rails and flats, and making minor corrections to nearly finished shape.
Different grades of paper vary the cutting power and resultant smoothness.
Abrasive Screen, Potentially another crutch tool, the screen is primarily used for final smoothing and contouring of the edgeof the rails and into the decks four or five inches. A lot of shapers will try to do too much shaping with the screen because it tends to hide bumps by eliminating the ridge that casts the shadow.
It won't take out bumps, for merely duplicates the surface it's pulled over.
Every shaper has his personal tool use habits, and frequently customizes his tools to fit his system. Learning to use all these tools to the degree that they don't hang you up is more involved than it may seem.
For instance, learning to go both front side and backside with your planer is a necessity if you wish to shape your rails from tail to nose on both sides. If you don't, or can't, chances are they'll be different.
The entire shaping process calls for total concentration. Foam is very malleable and easy to contour, but also easy to ruin for the same reasons. The system that a shaper develops becomes a reflection of his efficiency and perceptiveness, a contest with himself to materially create that which he mentally envisions.
Surfboards are incredibly beautiful and functional sculptures. Part of their beauty lies in what they're designed to do: to slide down the face of an upward- flowing mass of water in a controlled fashion.
But their forms exist aesthetically on their own artistic merit as well as on their usefulness.
The surfer shaper who has earned, over a period of years, his ability
to read foam and who has evolved a truly direct system and a flowing set of templates, is just that much further into the intrinsic values hidden within the sport of surfing. And we are the lucky ones who may plug into all that energy by merely
riding his shape.
“In one art is zen used time and again-shaping for all the seasons.” Archipuni
Shaper Bing Copeland of
Bing Surfboards
Hana pa'aA two day Fishing Tournament on the North Shore of Oahu
We were on board the Kuuloa Kai, a Sportfishing Charter boat out of Haleiwa Harbor and it was 6:00 a.m. the 20th of June. The official start time for the Tournament. With a full Moon and Venus fading away into the outskirt of night, the boats sped off into the morning light. 
Crew member Dino Miranda and Captain Rusty Spencer
Dino in the tube left and Captain Rusty doing a switch foot bottom turn. Photo of Rusty by Jamie Ballenger
The spray from the bow flys by the flybridge, while Captain Rusty is steering the course. Next to him is Dino Miranda, a Pro Surfer, a Boat Captain, Fisherman and Artist, today he is one of the crew members.
As Kuuloa Kai plows into choppy seas, with her jigs spread out on the outriggers. The course takes us along the ledge which runs parallel to the beach some mile and a half out of the North Shore. One of the lines on the outrigger goes off. Scott Spencer takes the pole and fights with it for 10 minutes and brings in a 25 lbs. Ono (Wahoo). Scott is Rusty’s younger brother who is the mechanic and the first-mate of Kuuloa Kai.
Getting back on our way, we get another hit and it is another Ono. Dino brings that on in and its a 15 pounder. Paul Lindburgh another member of the crew and is a Paipo board designer and builder, he is also a Jazz Musician. This day he was tuned to the moment and gaff in both of the Ono's. Still traveling along the ledge we made a lefthand turn off where Turtle Bay was to our starboard. The Auto pilot takes over and we are heading towards the X buoy.
Dino fighting a Ahi
Having caught 3 Mahi Mahi along the way and a couple of 30 lbs. Shibi once at the X Buoy (Yellowfin Tuna under 100 lbs. are called Shibis and those over a 100 lbs. are called Ahi) And that is just what happened, a Ahi took the bait and Dino gets in the fighting chair. Forty five minutes later the hook comes off. There was some disappointment but not for long, everyone knows that just the way it goes: catch some, lose some. There were a few more Shibi’s in the 40 to 50 lbs. range that were landed after the lost Ahi.
After lunch I was talking to Dino on the flybridge about the tube ride at Puerto Escondido. The one that won him the finals of a longboard contest. Dropping in backdoor and turning into position as the tube leaped in front of him. As the lip of the wave advances further from Dino, his board is speeding up. Crossing the imaginary finish line and out of the Tube, the ride put Dino over the top into first place.
Paul pulls up to the flybridge and we start talking about Paipo boards. Dino mentions that one of his early contest wins as a youngster was on a paipo board. Putting little side fins on it and riding it like a standup board. Paul is one of the few still making Paipo boards. His shop is located on the Big Island and is quite busy doing the entire process of board construction. Besides building Paipo, Paul studied classical music at a couple of Colleges back East, but would focus on Jazz.
He is in a Trio that plays at varies clubs in Hilo and Kona. The group is called Maggie Herron the Trio.
Paul Lindburgh with his Paipo board at PAIPO.COM
The afternoon fishing slows and Kuuloa Kai trolls for marlin. Catching one would have given Kuuloa Kai a clean sweep of Catching a Ono, Mahi Mahi, Ahi and a Marlin. That would have made some money in the daily prize catagories of Largest Ahi, Ono, Mahi Mahi, Marlin and clean sweep. But the time to stop fishing arrives at 4:30 p.m. and we did not catch that marlin. So we headed back to the Harbor to weigh in out catch for the day.
Back out the next morning and were off to the X Buoy, but along the way Dino spots some birds and Captain Rusty changes course. Dino sees a flash in the water, it’s a Mahi Mahi following one of the jigs. Scott get the bait out and within a minute a hit!. After 5 minutes a 20 lbs. Mahi Mahi was brought on board.
Dino recording a teenage Whale Shark around 24 ft. long
After arriving at the X buoy we caught two Ahi, one weighing 110 lbs. and the other at 99 lbs. During the mid morning Captain Rusty yells there is a Whale Shark 30 yards off our stern. We slow to a stand still as the Whale Shark approaches us. Whale Shark grow to around 40 to 50 ft., this one was half that size.
It swam closer and closer to the side of the boat. Scott reaches over and touches it head. A friendly curious teenager of a Whale Shark wading alongside the boat, Paul and Dino touches the gentle giant as it looks at them with a calm demeanor. For 10 minutes we had the company of a Whale Shark, a pleasant distraction, but its back to work.
Trolling most of the afternoon around the J buoy, we headed down to the ii buoy. It was already 4:00 p.m.. when we caught a 4 lbs. Aku (Skipjack) at our first go by at the buoy and used it as live bait. . It wasn’t long before we got a hit. After 15 minutes Dino had the 50 lbs Shibi along side the boat and in. Meanwhile Scott had used the last Opelu and got a hook up and was fighting it. The rig that he was using had light line. After 10 minutes the 80 pound test broke. That was a good size Ahi.
The final minutes came quickly as the crew hurried to get another bait out and a hit before the 4:30 deadline. As the seconds were called out from Hanapa’a Base etc. etc. 3, 2, 1, the fishing was over. With squalls dropping rain off in the distance, a partial rainbow hung above the coastline of the North Shore as we made our way back to Haleiwa Harbor.
Back at the docks L-R Paul Lindburgh, Dino Miranda and Captain Rusty
and the catch of the day. Left to right Captain Rusty Spencer, Tom Takao, Paul Lindburgh, Scott Spencer and Dino Miranda. The team came in 10th.
David Puu Shaper, Glasser, Sander, Polisher, Pro Surfer, Photographer and Cinematographer
DAVID PUU, Photography and Cinematography
David Puu backside photo Veronica Slavin
David started shaping and glassing in 1967 in his parent’s garage in Goleta. He was taught by Montecito surfer/ board builder Louis Lassere, whom he met when he answered an ad in the Santa Barbara New Press classifieds for a blank for sale. The foam was made by Hudson Riverboat Company, which had a shop on Santa Barbara’s east side. After David bought the blank he would get instruction from Louis in how to shape and glass. Louis would take the bus from Montecito for a few weeks to until David got it down.
David did garage boards for a while until he was 16, shaping all of them with the exception of one shaped blank that Danny Hazard did for him. David would do a few boards under the Marc Andreini label. Being a team rider for Surf N Wear , they supplied David with Marc's rice paper lams, since the shop was selling Marc’s board. During this time David was hanging out as a shop grom with Bob Krause and Dennis Pang. Who were building boards in Isla Vista.
When Dave Johnson started giving David shaped blanks at 17, so he stopped shaping for a while. His surfing would improve riding Davey Johnson’s shapes. At 20, he was glassing and apprenticing under Dave Johnson. He was also being tutored by Blinky and Malcolm Campbell. Whose boards that were being glassed by at the shop he was working in.
He would begin shaping again in 1978 and continued till 2004. Ending his career building some plugs for Steve Walden's molded board line. In total he had shaped around 16,000 and glassed close to 40,000 surfboards. Being a contract builder for Yater, Hamish Graham, Channel Islands, Matt Moore and others. His own line was Morning Star, for which he shaped approximately 13,000 surfboards.
Shapers that he trained, gave lessons to were; Jeff Bushman, Dave Smith, Randy Cone, Chris Samaniego, Spencer Kellog, Dave Parmenter, Craig Comen and several others. I trained 9 sanders (Dave Smith, Wade Brown and Bob Measley were three)16 laminators and multiple polishers. He was professionally trained by Dave Johnson, Blinky, Bill Barnfield, Ben Aipa, Rich Reid, Bob Haakenson, Al Merrick and many others during his board building career. David was a touring pro for 12 years, shaping and glassing for his travel money while away and at home.
David Puu vertical off the Lip, photo Veronica Slavin
Ben Aipa Velzyland 1974 photo Leroy Grannis
Bob McTavish carving up the face at Sunset Beach 1968 photo Dave Darling
Bob McTavish traveling down the line 2007
Jim Phillips twin fin off the lip 80's, Michel Junod on the nose 00's both learned to shape from Carl "Tinker" West
Phil Edwards
George Greenough
The Shapers Tree
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