JOE DE MERS' TONSORIAL PARLOR AND ABSTRACT ART GALLERY
Joe De Mers (1910-1984) illustrated women's magazines in the 1940s and 1950s, a market characterized by simplified pictures of pretty girls against plain backgrounds.
Later generations would look down on what Robert Weaver ridiculed as "candy box" illustration. Jim Silke accurately noted, "that style was derisively called the 'big head school of illustration,' a name derived from the fact that every picture was dominated by a huge close up of a beautiful woman...." Illustrator Al Parker explained the popularity of such illustrations with tasteless audiences:
...with these details from the bourgeois pablum being served up by De Mers:
Errrr.....
Umm....
Later generations would look down on what Robert Weaver ridiculed as "candy box" illustration. Jim Silke accurately noted, "that style was derisively called the 'big head school of illustration,' a name derived from the fact that every picture was dominated by a huge close up of a beautiful woman...." Illustrator Al Parker explained the popularity of such illustrations with tasteless audiences:
Readers demand pretty people in pretty settings forming a pretty picture. The larger your audience, the more limited its taste. It prefers subject matter to design and girls to men. It wants no message other than girls are cute and men like cute girls.At the same time De Mers was catering to popular taste, genius artists such as De Kooning, Franz Kline, Joan Mitchell and Diebenkorn were boldly experimenting with abstract paintings. Compare the freedom, vigor and originality of De Kooning's brilliant masterpiece:
...with these details from the bourgeois pablum being served up by De Mers:
Errrr.....
Umm....
Opening Day at The Gold Coast – Quicksilver Pro
The 2011 ASP World Title Race has commenced with the top 34 surfers in the world going head to head in two-to-three foot waves at Snapper Rocks for round 1 of the Quicksilver Pro 2011.
The opening day proved to be somewhat impressive. The crowded beach and online streamers were treated to some barrels and air sections despite the little swell projected for the coming week. Quoted by Slater last week, “It will depend on where the waves show up”. His statement proved to be spot on, as the world’s best made the most of the two-to-three footers on offer.
Slater (USA), who turned 39 this month, may have been affected by the loss of his mate Andy Irons, but he’s not about to let that hinder his phenomenal surfing record. Slater showed on the day that he still has what it takes to clinch an 11th World Crown, wiping out all rumours of his impending retirement. The American scrapped past wildcard Matt Banting (AUS) and Kai Otton to advance to round 3. “Today I was more focused on getting the good waves and completing them. It’s not exceptional out there so I was just trying to get the clean ones which will probably get you the highest score of the heat,” said Slater.
Second to Slater in round 1 was the Teenage Whizz Kid, Matt Banting, who emerged as one of the leaders of a new wave of surfing talent with his display. Already backed by Quicksilver, who gave him their wildcard entry to the event, the Aussie kid will now fight for survival in the second round. Banting ended the day in fine fashion though as he emerged from the battle with Slater, rating him “the king” of surfing.
Defending event champion, Taj Burrow (AUS), has had another world-class start to the 2011 World Title Race, setting the pace as the form surfer of round 1 at Snapper Rocks. Burrow’s impressive surf netted him the highest heat total of the day, a 16.67. “This is the first one of the year, so I was definitely a little nervous, but it was just the right amount I think,” he said. “It felt really good, especially opening with a high score.”
2010 ASP World Runner Up, Jordy Smith (ZAF) returned to Australia from his home town and the natural-footer continued to light up amongst the world’s best. Smooth calm and collected, Jordy blitz opponents Gadauskas (USA) and Crews (AUS), with unmatched power and aerial prowess.
Former two-time winner of the Gold Coast, Mick Fanning (AUS), emerged with the days highest single wave score, a 9.33 out of a possible 10, for a Houdini-esque barrel and some power surfing. Fanning, equipped with the first GPS devise used in a world tour tournament, was also the fastest surfer, clocking 39km/h on a wave and covering more than 3km in his 30 min heat.
ASP top 34 rookie, Julian Wilson (AUS), opened up his campaign as a member of the elite 34 in sterling fashion, surpassing the veterans Adrian Buchan (AUS) and Heitor Alves (BRA), to advance directly to Round 3. “This is my favourite event of the year, and to win round 1 takes some of the pressure off. I’d like to try and get a good result, my best result is round 4 in this event so I’d like to try and do better this year.”
Event organizers will reconvene at 6:30am to assess a possible 7:30am start for round 2. When competition resumes, up first will be Bede Durbidge (AUS) up against wildcard Matt Banting (AUS) in the opening men’s heat in Round 2.
The opening day proved to be somewhat impressive. The crowded beach and online streamers were treated to some barrels and air sections despite the little swell projected for the coming week. Quoted by Slater last week, “It will depend on where the waves show up”. His statement proved to be spot on, as the world’s best made the most of the two-to-three footers on offer.
Slater (USA), who turned 39 this month, may have been affected by the loss of his mate Andy Irons, but he’s not about to let that hinder his phenomenal surfing record. Slater showed on the day that he still has what it takes to clinch an 11th World Crown, wiping out all rumours of his impending retirement. The American scrapped past wildcard Matt Banting (AUS) and Kai Otton to advance to round 3. “Today I was more focused on getting the good waves and completing them. It’s not exceptional out there so I was just trying to get the clean ones which will probably get you the highest score of the heat,” said Slater.
Second to Slater in round 1 was the Teenage Whizz Kid, Matt Banting, who emerged as one of the leaders of a new wave of surfing talent with his display. Already backed by Quicksilver, who gave him their wildcard entry to the event, the Aussie kid will now fight for survival in the second round. Banting ended the day in fine fashion though as he emerged from the battle with Slater, rating him “the king” of surfing.
Defending event champion, Taj Burrow (AUS), has had another world-class start to the 2011 World Title Race, setting the pace as the form surfer of round 1 at Snapper Rocks. Burrow’s impressive surf netted him the highest heat total of the day, a 16.67. “This is the first one of the year, so I was definitely a little nervous, but it was just the right amount I think,” he said. “It felt really good, especially opening with a high score.”
2010 ASP World Runner Up, Jordy Smith (ZAF) returned to Australia from his home town and the natural-footer continued to light up amongst the world’s best. Smooth calm and collected, Jordy blitz opponents Gadauskas (USA) and Crews (AUS), with unmatched power and aerial prowess.
Former two-time winner of the Gold Coast, Mick Fanning (AUS), emerged with the days highest single wave score, a 9.33 out of a possible 10, for a Houdini-esque barrel and some power surfing. Fanning, equipped with the first GPS devise used in a world tour tournament, was also the fastest surfer, clocking 39km/h on a wave and covering more than 3km in his 30 min heat.
ASP top 34 rookie, Julian Wilson (AUS), opened up his campaign as a member of the elite 34 in sterling fashion, surpassing the veterans Adrian Buchan (AUS) and Heitor Alves (BRA), to advance directly to Round 3. “This is my favourite event of the year, and to win round 1 takes some of the pressure off. I’d like to try and get a good result, my best result is round 4 in this event so I’d like to try and do better this year.”
Event organizers will reconvene at 6:30am to assess a possible 7:30am start for round 2. When competition resumes, up first will be Bede Durbidge (AUS) up against wildcard Matt Banting (AUS) in the opening men’s heat in Round 2.
2011 ASP World Championship Tour kicks off...
Quicksilver Pro Gold Coast 2011
The long awaited and much anticipated 2011 ASP World Title race is just a few short days away from commencing. Land Rover, one of the world’s leading SUV 4x4 manufacturers presents the Quicksilver Pro Gold Coast. It’s a new year, clean slate, fresh moves and a chance for disappointed dreams of last year to become reality this year.
The first event of the ASP men’s World Tour 2011 will take place out at Snapper Rocks on Queensland’s Gold Coast from February 26 through March 09, 2011. The beach named after the gnarly outcrop of old lava. Snapper Rocks offers a high-performance pointbreak allowing the Quicksilver Pro Gold Coast the ability to go mobile to several nearby world-class waves, offering the ideal forum for the ASP top 34 to open up their respective 2011 ASP World Title Campaigns.
“The waves at Snapper wake me up enough for motivation and I’d love to get another win at The Quicksilver Pro. Either a great way to go out or to start another campaign! It will depend on where the waves show up,” Kelly Slater (10-Time ASP World Champion) said.
Taj Burrow (Aus), defending event champion fine-tuned his equipment and boosted his confidence with a World Qualifying Series (WQS) win at Burleigh Heads last Sunday. Burrow who has featured in the top 5 for most of the past decade, said that winning the illusive World Title would mean everything to him. The 32 year old Australian is looking to defend this title in this event and start his campaign on a high note.
Jordy Smith (ZAF), 2010 ASP World Runner-Up has been recharging in his home town South Africa for the upcoming season preparing mentally and physically for the tour which takes on the world’s best. Finishing Runner-Up, coupled with his incredible run amongst the world’s elite last year, Smith has established himself as a major contender at the Gold Coast. “The first thing that comes to mind regarding Snapper is that it’s one of the best rip, tear and slash waves around,” Smith said.
Dane Reynolds (USA), who finished the 2010 ASP World Title season in 4th, has withdrawn from the Quicksilver Pro after undergoing surgery on his right knee which he injured in Hawaii in early December. Cory Lopez (USA), will be serving as his replacement at the event.
Surfers, shapers and all water crazed, be prepared to be entertained and bedazzled! These top 34 Surfers are breaking boundaries daily in terms of high-performance surfing. I’ve got my boardy, do you?
QUICKSILVER PRO GLD COAST ROUND 1:
Heat 1: Adrian Buchan (AUS), Heitor Alves (BRA), Julian Wilson (AUS)
Heat 2: Bede Durbidge (AUS), Matt Wilkinson (AUS), Gabe Kling (USA)
Heat 3: Mick Fanning (AUS), Bobby Martinez (USA), Cory Lopez (USA)
Heat 4: Taj Burrow (AUS), Fredrick Patacchia (HAW), Raoni Monteiro (BRA)
Heat 5: Jordy Smith (ZAF), Patrick Gudauskas (USA), TBA
Heat 6: Kelly Slater (USA), Kai Otten (AUS), TBA
Heat 7: Owen Wright (Aus), Taylor Knox (USA), Dusty Payne (HAW)
Heat 8: Jeremy Flores (FRA), Brett Simpson (USA), Josh Kerr (AUS)
Heat 9: Adriano de Souza (BRA), Joel Parkinson (AUS), Alejo Muniz (BRA)
Heat 10: Michel Bourez (PYF), C.J. HOBGOOD (USA), Daniel Ross (AUS)
Heat 11: Chris Davidson (AUS), Keiren Perrow (AUS), Adam Melling (Aus)
Heat 12: Jadson Andre (BRA), Damian Hobgood (USA), Tiago Pires (PRT)
The long awaited and much anticipated 2011 ASP World Title race is just a few short days away from commencing. Land Rover, one of the world’s leading SUV 4x4 manufacturers presents the Quicksilver Pro Gold Coast. It’s a new year, clean slate, fresh moves and a chance for disappointed dreams of last year to become reality this year.
The first event of the ASP men’s World Tour 2011 will take place out at Snapper Rocks on Queensland’s Gold Coast from February 26 through March 09, 2011. The beach named after the gnarly outcrop of old lava. Snapper Rocks offers a high-performance pointbreak allowing the Quicksilver Pro Gold Coast the ability to go mobile to several nearby world-class waves, offering the ideal forum for the ASP top 34 to open up their respective 2011 ASP World Title Campaigns.
“The waves at Snapper wake me up enough for motivation and I’d love to get another win at The Quicksilver Pro. Either a great way to go out or to start another campaign! It will depend on where the waves show up,” Kelly Slater (10-Time ASP World Champion) said.
Taj Burrow (Aus), defending event champion fine-tuned his equipment and boosted his confidence with a World Qualifying Series (WQS) win at Burleigh Heads last Sunday. Burrow who has featured in the top 5 for most of the past decade, said that winning the illusive World Title would mean everything to him. The 32 year old Australian is looking to defend this title in this event and start his campaign on a high note.
Jordy Smith (ZAF), 2010 ASP World Runner-Up has been recharging in his home town South Africa for the upcoming season preparing mentally and physically for the tour which takes on the world’s best. Finishing Runner-Up, coupled with his incredible run amongst the world’s elite last year, Smith has established himself as a major contender at the Gold Coast. “The first thing that comes to mind regarding Snapper is that it’s one of the best rip, tear and slash waves around,” Smith said.
Dane Reynolds (USA), who finished the 2010 ASP World Title season in 4th, has withdrawn from the Quicksilver Pro after undergoing surgery on his right knee which he injured in Hawaii in early December. Cory Lopez (USA), will be serving as his replacement at the event.
Surfers, shapers and all water crazed, be prepared to be entertained and bedazzled! These top 34 Surfers are breaking boundaries daily in terms of high-performance surfing. I’ve got my boardy, do you?
QUICKSILVER PRO GLD COAST ROUND 1:
Heat 1: Adrian Buchan (AUS), Heitor Alves (BRA), Julian Wilson (AUS)
Heat 2: Bede Durbidge (AUS), Matt Wilkinson (AUS), Gabe Kling (USA)
Heat 3: Mick Fanning (AUS), Bobby Martinez (USA), Cory Lopez (USA)
Heat 4: Taj Burrow (AUS), Fredrick Patacchia (HAW), Raoni Monteiro (BRA)
Heat 5: Jordy Smith (ZAF), Patrick Gudauskas (USA), TBA
Heat 6: Kelly Slater (USA), Kai Otten (AUS), TBA
Heat 7: Owen Wright (Aus), Taylor Knox (USA), Dusty Payne (HAW)
Heat 8: Jeremy Flores (FRA), Brett Simpson (USA), Josh Kerr (AUS)
Heat 9: Adriano de Souza (BRA), Joel Parkinson (AUS), Alejo Muniz (BRA)
Heat 10: Michel Bourez (PYF), C.J. HOBGOOD (USA), Daniel Ross (AUS)
Heat 11: Chris Davidson (AUS), Keiren Perrow (AUS), Adam Melling (Aus)
Heat 12: Jadson Andre (BRA), Damian Hobgood (USA), Tiago Pires (PRT)
THE BEGGARSTAFF BROTHERS
In 1894, Scottish artist James Pryde teamed with English artist William Nicholson to create posters under the pseudonym "the Beggarstaff Brothers" (a name they found on a torn sack of grain in an old stable yard).
Pryde and Nicholson brought very different perspectives to their partnership. Pryde was tall and heavy, while Nicholson was short and thin. Pryde grew up in a noisy, eccentric household of "violent views" while Nicholson was raised in a "gentle, well-bred, well-mannered atmosphere." Pryde was outspoken and gregarious, while Nicholson was quiet and detached. Pryde worked very casually while Nicholson was serious and driven. Recalled Pryde, "our opinions on artistic matters differed widely."
If those weren't enough causes for friction, Nicholson fell in love with Pryde's younger sister against her mother's wishes. Colin Campbell's excellent book on the Beggarstaffs reports that "after a courtship conducted largely, it seems, among the coalsacks in the cellar of the Pryde's Bloomsbury home, the couple married in secret at Ruslip on 25 April 1893."
Who could ask for a better foundation for an artistic partnership?
Yet, their clashing perspectives seem to have stimulated them to abandon the dominant styles of their day in favor of a radical new approach. The Beggarstaffs transformed the history of poster art with a series of bold, simple designs using flat images and silhouettes.
In 1896, an arts magazine interviewed the Brothers on their technique:
Not surprisingly, Pryde maintained that a pen knife was best for this purpose while Nicholson favored scissors.
Pryde and Nicholson brought very different perspectives to their partnership. Pryde was tall and heavy, while Nicholson was short and thin. Pryde grew up in a noisy, eccentric household of "violent views" while Nicholson was raised in a "gentle, well-bred, well-mannered atmosphere." Pryde was outspoken and gregarious, while Nicholson was quiet and detached. Pryde worked very casually while Nicholson was serious and driven. Recalled Pryde, "our opinions on artistic matters differed widely."
If those weren't enough causes for friction, Nicholson fell in love with Pryde's younger sister against her mother's wishes. Colin Campbell's excellent book on the Beggarstaffs reports that "after a courtship conducted largely, it seems, among the coalsacks in the cellar of the Pryde's Bloomsbury home, the couple married in secret at Ruslip on 25 April 1893."
Who could ask for a better foundation for an artistic partnership?
Yet, their clashing perspectives seem to have stimulated them to abandon the dominant styles of their day in favor of a radical new approach. The Beggarstaffs transformed the history of poster art with a series of bold, simple designs using flat images and silhouettes.
In 1896, an arts magazine interviewed the Brothers on their technique:
One of us gets an idea, said Pryde. We talk it over, the other suggests an addition, the matter is reconsidered, perhaps shelved away for months. Finally we draw the design very roughly with charcoal on big sheets of paper, and then place the lines and masses in their places on the groundwork, which is generally of ordinary brown paper.Like Matisse after them, the Biggerstaffs found that it helped simplify their designs if they worked with shapes cut out of colored paper.
Not surprisingly, Pryde maintained that a pen knife was best for this purpose while Nicholson favored scissors.
The Beggarstaff team only stayed together for three short years. They were a commercial failure, as clients were not sure what to make of these bold new images. But their designs became hugely influential with artists in Europe and America, and helped usher in the Early Modern era which replaced the highly ornate art nouveau and arts and crafts movements.
Pryde and Nicholson separated, turning to painting and other artistic pursuits to earn a living. They never again succeeded in achieving the quality they found during their brief but remarkable collaboration.
Surfboard blanks
What is the difference between Polyurethane and EPS (Expanded Polystyrene) blanks?
Polyurethane blanks are molded and are the traditional blanks. Once surfboards started featuring foam centres, polyurethane foam was the most popular selection. Polyurethane foam blanks are used in conjunction with polyester reins to produce what is known as a polyester, or PU surfboard. EPS blanks are formed in billets (large rectangular cubes) the hotwired to specific rockers and thicknesses to make the surfboard blanks.
What is the difference between Polyurethane foam, Molded EPS Polystyrene and Extruded Polystyrene Foam?
Polyurethane and polystyrene foams differ in their chemical makeup. Chemical makeup aside, the three foams asked about are different in their cell structure. Both extruded polystyrene foam (XPS) and polyurethane (PU) foam are a closed cell type foam, which is made up of a suspension of tin bubbles.EPS foam consisits of smell beads of polystyrene that have been stuck together. Many are familiar with EPS foam as is commonly used for foam cups and beer coolers. PU foam can be glassed using epoxy resins and polyester resins, whereas XPS and EPS foam can only be glassed with epoxy resins. EPS and XPS resins will react with polyester resins. All foams come in different densities.
There are two different polyurethane (PU) foams to be on the lookout for, one is a tolulene-di-isocynate (TDI) base and the other is made of using methylene di isocynate (MDI), a less toxic chemical.
People buying stock boards off the rack will have more options, and might therefore be less informed of (or more confused by) the options that face them as they might not be familiar with the properties of certain cores or composite materials. A very little group of people will have an intimate knowledge of the vast array of foam cores and their composite technology, a matter that may affect any given shape-shapers that have such knowledge will be even more in demand.
Stay tuned to find out where to buy polyurethane foam or to find a surf online store.
MARY PERKINS ON STAGE, volume 8
The newest volume of the Classic Comics Press reprint of Leonard Starr's comic strip, On Stage, has just been released and publisher Charles Pelto was kind enough to invite me to write the introduction. I am a huge fan of the strip, and the period covered by this volume (1966-1967) is one of my favorite periods.
In honor of this 8th volume in the series, my introduction lists the top 8 reasons why On Stage was one of the very greatest story strips of all time. Those reasons are:
1. It was the single most literate and erudite story strip
1. It was the single most literate and erudite story strip
2. Starr's mastery of light and shadow was on a par with the best comic artists
3. It was the sexiest comic strip (at least, for real adults)
4. Starr's drawings had great structural integrity
5. Its dry wit and humor were unmatched by any other story strip
6. Its pictures were beautifully designed
7. Its relationships were among the richest and most mature in comic strips
8. Starr excelled at complex facial expressions to illustrate complex story lines
Do you disagree? Do you have different reasons? Get the book if you care to read my arguments.
Do you disagree? Do you have different reasons? Get the book if you care to read my arguments.
Your First shape? Consider these....
SURFBOARD DESIGN
How to choose a right surfboard design? A surfboard could be just about the hardest piece of sport equipment to buy. There are so many variables in a surfboard design that influence the way the surfboard will ride and there are so many different shapers and surfboard models, even if we do not get into the custom shaped surfboards. What kind of tail do you want, what kind of rails do you want, what kind of fin set-up, what kind of rocker, do you want channel bottom, how thick, how wide etc... it can get confusing at the beginning. To sort things out, read our surfboard buyers guide.
Surfboard Design
Before you decide on your surfboard design you go surfboard shopping you have to honestly ask yourself a few questions that should be considered when choosing a surfboard:
• Surfers ability Level - how good surfer are you honestly, surfing is about catching waves, so if you are not confident in your surfing ability or you are not in a good shape get a surfboard designed with more thickness and width, you will surf a lot more.
• Size and weight of Surfer - this one is quite obvious, bigger and heavier surfer needs bigger and thicker surfboard with more buoyancy.
• Size of waves and type of break that you intend to surf - mellow beach breaks or heavy reefs
• Surfers own riding style
No surfboard design will work in all waves, all of the time, for all surfers!
This is why so many different surfboard designs exist and why some surfers have a quiver of surfboards to cover a range of different waves and surf conditions.
Surfboard Design Considerations
This is a list of surfboard design features that influence how the surfboard will ride, each surfboard design feature is later explained in more detail:
• Template (Plan shape/Outline)
• Surfboard Length
• Surfboard Width
• Surfboard Rails
• Surfboard Rocker
• Surfboard Nose Lift
• Surfboard Tail Lift
• Surfboard Bottom Contours
• Surfboard Thickness
• Surfboard Tail Design
• Surfboard Fins
Surfboard design - Template
What is a surfboard template? Template is the general shape of the surfboard if you look at it from the top. Generally longer, straighter templates are more conducive to faster surfing and bigger waves. Rounder, curvier templates are slower in a straight line but give a very manoeuvrable surfboard.
Surfboard Length
What is Surfboard Length? Surfboard length is the size of the surfboard from nose to tail. Longer surfboards will paddle easier, glide better and make it easier to get around sections. However they are less manoeuvrable than short surfboards. Beginners normally need a surfboard around 12"-18" (450mm) longer than they are tall. Experts generally ride surfboards in the 6' 2" - 6' 6" range in average surf. In large waves e.g. Hawaii, surfboards may be as long as 10' and 7-8ft surfboards are common.
Surfboard Width
What is surfboard width? Surfboard width is the size of the surfboard across the surfboard, perpendicular to the stringer. It is measured at the widest point. Wider surfboards float better, are more stable and ideal for beginners and for surfing junk waves. 20" - 22" is a good width for beginners surfboards. Experts will often ride surfboards around 17" - 19" wide and in large waves most surfers benefit from the increase in control that narrower surfboards will give.
Widest Point of a surfboard
Where is the widest point of a surfboard? Position of the widest point of the surfboard is another critical factor. In Guns it may be quite far forward of the surfboards centre. This makes them fast and controllable but not very manoeuvrable. Small wave surfboards usually have their widest points behind centre in order to enhance their manoeuvrability.
Nose Width and Tail width
What is surfboard nose width? Nose width is measured 1 ft back from the tip of the surfboards nose.
What is surfboard tail width? Tail width is measured 1 ft forward from the end of the rail.
More width in the nose and tail ("full outline") is better for beginners as it gives a more stable surfboard that is easier to catch and ride waves on. Surfboards designed for larger, faster waves tend to have less nose and tail width.
Surfboard design: Surfboard Rails
What are surfboard rails? Surfboard rails are the outside edge of the surfboard. Hard edges especially in the tail allow the water to break away (release) from the rail helping speed and manoeuvrability. However in big and fast waves the opposite is often desirable and rails may be softer to give a better "grip" on the water. The most common rail line features a "tucked under edge" that combines the best properties of both soft and hard rails. The volume (thickness) of the rails is also important. High volume rails are better suited to small, slow waves as they do not sink as much when turning. In bigger waves low volume rails allow better control at higher speeds where sinking the rails when turning is desirable.
Surfboard design: Surfboard Rocker
What is the surfboard rocker? Surfboard rocker is the bottom curve of the surfboard. Surfboard rocker is arguably the single most important design feature. Generally less rocker makes a surfboard plane faster and is better in small or mushy waves. More rocker allows more control in critical situations and is preferable in steep waves. The effect of bottom shape (side to side) can combine with the rocker to influence a surfboards characteristics in many ways. Generally the longer the surfboard the more rocker it needs to have.
Surfboard Nose Lift
Surfboard nose lift prevents the nose from pearling (digging in). The more nose lift the less chance there will be of pearling. More nose lift also keeps it clear of the water when performing radical manoeuvres. Thus preventing the surfer from "digging a rail". Flatter nose lift is often seen in Longboards where nose riding is an important consideration. it prevents the surfboard from stalling as the flatter section planes better.
Surfboard Tail Lift
Surfboard tail lift has recently been taken to extreme limits with high performance surfboards, mainly to counteract the tracking effect of a full concave bottom. Lots of tail lift can make a surfboard slower but allows great manoeuvrability especially in critical situations.
Surfboard Bottom Contours
What are surfboard bottom contours? Bottom contours are the shape of the bottom of the surfboard and influence how water travels under the surfboard. Some common surfboard bottom contours are:
• Belly bottom
• Flat bottom
• Concave bottom
• Vee bottom
• Channel bottom
Belly Surfboard Bottom design
Belly surfboard bottom design is a convex shaped bottom. Belly bottom is sometimes used, traditionally in the front section of a board, to prevent the surfboard from tracking.
Flat Surfboard Bottom design
Flat surfboard bottom design is a fast bottom shape but one that can be difficult to control in larger/faster waves. Flat bottom is good for small, mushy waves, where you need lots of speed.
Concave Surfboard Bottom design
Concave surfboard bottom design helps to prevent water being released under the rails giving the surfboard lift and speed. It is often used in the front section of Longboards to aid noseriding. On short surfboards a concave bottom will need increased rocker to allow the rider to retain good manoeuvrability.
Vee Surfboard Bottom design
Vee surfboard bottom gives a flat planing surface on each side of the surfboard that makes the surfboard fast through turns and easy to change direction. Vee surfboard bottom is not as fast when going in a straight line.
Surfboard Bottom: Channels design
Channel bottom design can have up to 8 channels running along the bottom of a surfboard and there are a number of variations. Their basic purpose is similar to a concave bottom i.e. To direct the water from nose to tail giving increased lift and speed. If they are deep, long and have hard edges they may do this too well and make the surfboard prone to tracking.
Surfboard design: Surfboard Thickness
Surfboard thickness and the distribution of thickness along the surfboard will determine how well a surfboard floats and, to some degree how well it paddles. Most surfboards are thickest in the centre with the thickness tapered to produce a thinner nose and tail. Beginners will benefit from having plenty of thickness throughout the board.
Surfboard design: Surfboard Tail
There are an enormous number of different tail shapes and designs, some of which perform in very similar ways. The basic surfboard tail designs are:
• Squash and/or Square tail design
• Pintail design
• Swallow Tail design
Squash and/or Square tail design
Squash and/or Square surfboard tail is the most common tail for short surfboards. The width of the squash / square tail enhances manoeuvrability and is especially suited to small waves and heavier surfers.
Pintail design
Pintail is commonly used on big wave surfboard. Pintail has a small area that allows it to hold in, in critical situations where a wider tail would cause the surfboard to spin out.
Swallow Tail design
Swallow Tail design couples the area and turning abilities of a wide tail design whilst the individual points act in a similar fashion to the pintail design.
Surfboard design: Surfboard Fins
Surfboards may have any number of fins, usually 1 or 3, and there are valid design points (and fans) for the different combinations and designs. Without a fin a surfboard would slide sideways and be almost uncontrollable. A fin creates resistance to the water allowing the surfboard to be turned and to travel across the face of the wave without sideslipping.
Surfboard fin combinations:
• Single Fin
• 3 Fins (Thruster)
• 2 & 4 Fins
Single Fin
Single Fin are mainly used on beginners surfboards where control and not performance is the main criteria. Single fins are also used on modern longboards and on some big wave guns. The deeper the fin and the larger its area the more control the rider has. However if the fin is too big it will cause drag and may eventually make the surfboard harder to turn. An optimum size would be 6" - 10" deep with a 6" - 8" base. Upright fins allow the surfboard to be pivoted around them in a turn whilst raked fins provide better control at higher speeds. Single fins are generally 6" - 8" from the tail of the surfboard (to the rear of the base) and are foiled to present excess drag.
3 Fins (Thruster)
3 Fins - Thruster is used in the vast majority of surfboards. Thruster design has been found to perform best for most people, on most surfboard designs, in most surf conditions. The 3 Fin set up gives good manoeuvrability, holds in well and makes the surfboard feel very stable. Generally the fins are about 4" deep with a 3" - 4" base. The forward fins have their bases angled towards the nose of the surfboard and their tips further apart than their bases. These features enhance the speed and manoeuvrability of the surfboard and prevent the surfboard tracking. The rear fin is foiled normally but the front fins have flat inside faces to improve drive whilst turning.
2 & 4 Fins
2 & 4 Fins Various surfboard designs feature 2 or 4 fin set ups. Twin fins tend to make the surfboard very loose but difficult to control in certain situations, especially in large waves. 4 Fins were used to combine the best of twin and 3 fins set ups although they have never had a wide following.
These were the main surfboard design point to consider. Now you are on your own.
How to choose a right surfboard design? A surfboard could be just about the hardest piece of sport equipment to buy. There are so many variables in a surfboard design that influence the way the surfboard will ride and there are so many different shapers and surfboard models, even if we do not get into the custom shaped surfboards. What kind of tail do you want, what kind of rails do you want, what kind of fin set-up, what kind of rocker, do you want channel bottom, how thick, how wide etc... it can get confusing at the beginning. To sort things out, read our surfboard buyers guide.
Surfboard Design
Before you decide on your surfboard design you go surfboard shopping you have to honestly ask yourself a few questions that should be considered when choosing a surfboard:
• Surfers ability Level - how good surfer are you honestly, surfing is about catching waves, so if you are not confident in your surfing ability or you are not in a good shape get a surfboard designed with more thickness and width, you will surf a lot more.
• Size and weight of Surfer - this one is quite obvious, bigger and heavier surfer needs bigger and thicker surfboard with more buoyancy.
• Size of waves and type of break that you intend to surf - mellow beach breaks or heavy reefs
• Surfers own riding style
No surfboard design will work in all waves, all of the time, for all surfers!
This is why so many different surfboard designs exist and why some surfers have a quiver of surfboards to cover a range of different waves and surf conditions.
Surfboard Design Considerations
This is a list of surfboard design features that influence how the surfboard will ride, each surfboard design feature is later explained in more detail:
• Template (Plan shape/Outline)
• Surfboard Length
• Surfboard Width
• Surfboard Rails
• Surfboard Rocker
• Surfboard Nose Lift
• Surfboard Tail Lift
• Surfboard Bottom Contours
• Surfboard Thickness
• Surfboard Tail Design
• Surfboard Fins
Surfboard design - Template
What is a surfboard template? Template is the general shape of the surfboard if you look at it from the top. Generally longer, straighter templates are more conducive to faster surfing and bigger waves. Rounder, curvier templates are slower in a straight line but give a very manoeuvrable surfboard.
Surfboard Length
What is Surfboard Length? Surfboard length is the size of the surfboard from nose to tail. Longer surfboards will paddle easier, glide better and make it easier to get around sections. However they are less manoeuvrable than short surfboards. Beginners normally need a surfboard around 12"-18" (450mm) longer than they are tall. Experts generally ride surfboards in the 6' 2" - 6' 6" range in average surf. In large waves e.g. Hawaii, surfboards may be as long as 10' and 7-8ft surfboards are common.
Surfboard Width
What is surfboard width? Surfboard width is the size of the surfboard across the surfboard, perpendicular to the stringer. It is measured at the widest point. Wider surfboards float better, are more stable and ideal for beginners and for surfing junk waves. 20" - 22" is a good width for beginners surfboards. Experts will often ride surfboards around 17" - 19" wide and in large waves most surfers benefit from the increase in control that narrower surfboards will give.
Widest Point of a surfboard
Where is the widest point of a surfboard? Position of the widest point of the surfboard is another critical factor. In Guns it may be quite far forward of the surfboards centre. This makes them fast and controllable but not very manoeuvrable. Small wave surfboards usually have their widest points behind centre in order to enhance their manoeuvrability.
Nose Width and Tail width
What is surfboard nose width? Nose width is measured 1 ft back from the tip of the surfboards nose.
What is surfboard tail width? Tail width is measured 1 ft forward from the end of the rail.
More width in the nose and tail ("full outline") is better for beginners as it gives a more stable surfboard that is easier to catch and ride waves on. Surfboards designed for larger, faster waves tend to have less nose and tail width.
Surfboard design: Surfboard Rails
What are surfboard rails? Surfboard rails are the outside edge of the surfboard. Hard edges especially in the tail allow the water to break away (release) from the rail helping speed and manoeuvrability. However in big and fast waves the opposite is often desirable and rails may be softer to give a better "grip" on the water. The most common rail line features a "tucked under edge" that combines the best properties of both soft and hard rails. The volume (thickness) of the rails is also important. High volume rails are better suited to small, slow waves as they do not sink as much when turning. In bigger waves low volume rails allow better control at higher speeds where sinking the rails when turning is desirable.
Surfboard design: Surfboard Rocker
What is the surfboard rocker? Surfboard rocker is the bottom curve of the surfboard. Surfboard rocker is arguably the single most important design feature. Generally less rocker makes a surfboard plane faster and is better in small or mushy waves. More rocker allows more control in critical situations and is preferable in steep waves. The effect of bottom shape (side to side) can combine with the rocker to influence a surfboards characteristics in many ways. Generally the longer the surfboard the more rocker it needs to have.
Surfboard Nose Lift
Surfboard nose lift prevents the nose from pearling (digging in). The more nose lift the less chance there will be of pearling. More nose lift also keeps it clear of the water when performing radical manoeuvres. Thus preventing the surfer from "digging a rail". Flatter nose lift is often seen in Longboards where nose riding is an important consideration. it prevents the surfboard from stalling as the flatter section planes better.
Surfboard Tail Lift
Surfboard tail lift has recently been taken to extreme limits with high performance surfboards, mainly to counteract the tracking effect of a full concave bottom. Lots of tail lift can make a surfboard slower but allows great manoeuvrability especially in critical situations.
Surfboard Bottom Contours
What are surfboard bottom contours? Bottom contours are the shape of the bottom of the surfboard and influence how water travels under the surfboard. Some common surfboard bottom contours are:
• Belly bottom
• Flat bottom
• Concave bottom
• Vee bottom
• Channel bottom
Belly Surfboard Bottom design
Belly surfboard bottom design is a convex shaped bottom. Belly bottom is sometimes used, traditionally in the front section of a board, to prevent the surfboard from tracking.
Flat Surfboard Bottom design
Flat surfboard bottom design is a fast bottom shape but one that can be difficult to control in larger/faster waves. Flat bottom is good for small, mushy waves, where you need lots of speed.
Concave Surfboard Bottom design
Concave surfboard bottom design helps to prevent water being released under the rails giving the surfboard lift and speed. It is often used in the front section of Longboards to aid noseriding. On short surfboards a concave bottom will need increased rocker to allow the rider to retain good manoeuvrability.
Vee Surfboard Bottom design
Vee surfboard bottom gives a flat planing surface on each side of the surfboard that makes the surfboard fast through turns and easy to change direction. Vee surfboard bottom is not as fast when going in a straight line.
Surfboard Bottom: Channels design
Channel bottom design can have up to 8 channels running along the bottom of a surfboard and there are a number of variations. Their basic purpose is similar to a concave bottom i.e. To direct the water from nose to tail giving increased lift and speed. If they are deep, long and have hard edges they may do this too well and make the surfboard prone to tracking.
Surfboard design: Surfboard Thickness
Surfboard thickness and the distribution of thickness along the surfboard will determine how well a surfboard floats and, to some degree how well it paddles. Most surfboards are thickest in the centre with the thickness tapered to produce a thinner nose and tail. Beginners will benefit from having plenty of thickness throughout the board.
Surfboard design: Surfboard Tail
There are an enormous number of different tail shapes and designs, some of which perform in very similar ways. The basic surfboard tail designs are:
• Squash and/or Square tail design
• Pintail design
• Swallow Tail design
Squash and/or Square tail design
Squash and/or Square surfboard tail is the most common tail for short surfboards. The width of the squash / square tail enhances manoeuvrability and is especially suited to small waves and heavier surfers.
Pintail design
Pintail is commonly used on big wave surfboard. Pintail has a small area that allows it to hold in, in critical situations where a wider tail would cause the surfboard to spin out.
Swallow Tail design
Swallow Tail design couples the area and turning abilities of a wide tail design whilst the individual points act in a similar fashion to the pintail design.
Surfboard design: Surfboard Fins
Surfboards may have any number of fins, usually 1 or 3, and there are valid design points (and fans) for the different combinations and designs. Without a fin a surfboard would slide sideways and be almost uncontrollable. A fin creates resistance to the water allowing the surfboard to be turned and to travel across the face of the wave without sideslipping.
Surfboard fin combinations:
• Single Fin
• 3 Fins (Thruster)
• 2 & 4 Fins
Single Fin
Single Fin are mainly used on beginners surfboards where control and not performance is the main criteria. Single fins are also used on modern longboards and on some big wave guns. The deeper the fin and the larger its area the more control the rider has. However if the fin is too big it will cause drag and may eventually make the surfboard harder to turn. An optimum size would be 6" - 10" deep with a 6" - 8" base. Upright fins allow the surfboard to be pivoted around them in a turn whilst raked fins provide better control at higher speeds. Single fins are generally 6" - 8" from the tail of the surfboard (to the rear of the base) and are foiled to present excess drag.
3 Fins (Thruster)
3 Fins - Thruster is used in the vast majority of surfboards. Thruster design has been found to perform best for most people, on most surfboard designs, in most surf conditions. The 3 Fin set up gives good manoeuvrability, holds in well and makes the surfboard feel very stable. Generally the fins are about 4" deep with a 3" - 4" base. The forward fins have their bases angled towards the nose of the surfboard and their tips further apart than their bases. These features enhance the speed and manoeuvrability of the surfboard and prevent the surfboard tracking. The rear fin is foiled normally but the front fins have flat inside faces to improve drive whilst turning.
2 & 4 Fins
2 & 4 Fins Various surfboard designs feature 2 or 4 fin set ups. Twin fins tend to make the surfboard very loose but difficult to control in certain situations, especially in large waves. 4 Fins were used to combine the best of twin and 3 fins set ups although they have never had a wide following.
These were the main surfboard design point to consider. Now you are on your own.
THE LAST COURT PAINTERS
Illustrator Bernie Fuchs standing behind President Kennedy at the White House
Once upon a time, kings and pharaohs sought the most talented artists in the land to serve as court painters. In an era before photography (and often before literacy) royal patrons of the arts knew they would be remembered by the images of their accomplishments.
Akhenaten's distinctive face was immortalized by his royal artists
Goya, Van Eyck, Rubens, Titian, Velazquez, Holbein and others found steady employment as court painters; they received a regular salary, ate well, and got to live in nicer surroundings than their peers in the art guild. Sometimes they went beyond capturing the face of the king to putting an aesthetic face on the entire kingdom.
But gradually emperors stopped sponsoring artists. The Medici Popes and Dukes who had once taken such pride in being represented by brilliant artists-- Michelangelo, Leonardo, Botticelli, Fra Angelico-- ended their patronage. Corporations emerged as the new centers of economic power and became the primary sponsors of art. The types of artists who once painted military victories for nobles found work painting for shampoo companies and car manufacturers.
Even though the era of court painters is over, we still see occasional flashes where an artist's strong voice helps articulate the identity of a leader or the style of the kingdom.
Dwight Eisenhower's presidency (1952-1960) was a conservative, traditional period so it was natural that his most iconic portrait was captured by Norman Rockwell-- an artist whose work embodied the traditional American values of the first half of the 20th century.
There is no better known painting of Eisenhower than this image from the cover of the Saturday Evening Post.
But as John Kennedy became president in 1961, a warm spring thaw was spreading across the country. The culture began an exciting period of innovation and experimentation.
Note the dramatic contrast between Rockwell's portrait of Eisenhower and Bernie Fuchs' iconic portraits of Kennedy just a few years later:
Fuchs' dynamic images of Kennedy were warmly embraced by the Kennedy clan. The painting of Kennedy on his boat (above) hangs today in the home of Kennedy's sister, Ambassador Jean Kennedy Smith. Kennedy's counselor and speechwriter, Ted Sorensen, kept another painting by Fuchs on the wall of his office until the day he died, a few months ago. And when Sotheby's auctioned off the personal possessions of Kennedy's widow, Jacqueline Onassis, there were two Fuchs images among them. Accurately or not, Fuchs' artistic perspective was the way many in Camelot chose to perceive their era.
Fuchs in the White House rose garden 1962
A few years later when Fuchs returned to the White House to paint President Lyndon Johnson's portrait, he found the personality of the government had changed sharply. The artistic style which was so appropriate for Kennedy was not as warmly received by the more frosty Johnson.
Note the dramatic contrast between Rockwell's portrait of Eisenhower and Bernie Fuchs' iconic portraits of Kennedy just a few years later:
Fuchs' dynamic images of Kennedy were warmly embraced by the Kennedy clan. The painting of Kennedy on his boat (above) hangs today in the home of Kennedy's sister, Ambassador Jean Kennedy Smith. Kennedy's counselor and speechwriter, Ted Sorensen, kept another painting by Fuchs on the wall of his office until the day he died, a few months ago. And when Sotheby's auctioned off the personal possessions of Kennedy's widow, Jacqueline Onassis, there were two Fuchs images among them. Accurately or not, Fuchs' artistic perspective was the way many in Camelot chose to perceive their era.
Fuchs in the White House rose garden 1962
A few years later when Fuchs returned to the White House to paint President Lyndon Johnson's portrait, he found the personality of the government had changed sharply. The artistic style which was so appropriate for Kennedy was not as warmly received by the more frosty Johnson.
Fuchs delivering his portrait of Lyndon Johnson in the oval office
Today it is difficult to imagine a leader anywhere who would turn to the arts to help establish their image . The triumph of video and the changed receptivity of the public are obviously important reasons for this transformation (although the lowered taste of rulers and the reduced ambitions of artists probably have something to do with it).
For a sense of just how far presidential portraits have sunk in our era, consider this dreadful portrait of Barack Obama:
The artist Shepard Fairey (shown here being applauded by trained seals) lifted his image from a copyrighted news photograph. When confronted with his theft, Fairey admitted that he had lied to the court and tried to destroy the evidence. Nevertheless, the fawning art critic and "postmodern poet" Peter Schjeldahl wrote an embarrassing review for the New Yorker in which he called Fairey's poster "the most efficacious American political illustration since 'Uncle Sam Wants You.'"
The artist Shepard Fairey (shown here being applauded by trained seals) lifted his image from a copyrighted news photograph. When confronted with his theft, Fairey admitted that he had lied to the court and tried to destroy the evidence. Nevertheless, the fawning art critic and "postmodern poet" Peter Schjeldahl wrote an embarrassing review for the New Yorker in which he called Fairey's poster "the most efficacious American political illustration since 'Uncle Sam Wants You.'"
In such an environment, perhaps it is fitting that the era of court painters is behind us.
South Africa has the best deals for custom surfboards....
South Africa has a long, rich history of master craftsman, gurus who have been mowing foam for decades and passing invaluable knowledge on from one generation to the next. Add to this the fact that world-renowned shapers from Australia and America used to come set up shop here and mix it with our best, creating a fibreglass gene pool that still runs through the boards you find under your feet today.
As a result, South Africa boasts a number of world-class shapers and an exceptionally high level of craftsmanship relative to its surfing population. And we’re getting it all at a steal.
A quick investigation was undertaken to get an approximate cost price of what goes into the average shortboard. The result, as you will see below, is that we scoring the best deal in our lives.
AVG. BASIC COST OF MAKING A SURFBOARD
Blank: R410
Cloth:R30 per meter=R150(Approximately 5 meters needed)
Resin: R35 per=R105(Approximately 3kgs per board)
Total: R665
After investigating a few avenues, the lowest average price for glassing and sanding a board by a reputable outfit comes in at a minimum of R800. So you are in for approximately R1450 absolutely bare minimum before you get going. This does not include fin plugs, fins, leash, plugs, masking tape, solvents, sandpaper, tools, and overheads like electrical costs and rent. I calculated a conservative estimate of another R500 per board to fill the gap, making a grand total of R1950 cost price per board.
A cross-section of ten shapers around the country were asked what their approximate cost price for materials was to compare notes, they did not want to display exact details. But pushed a little further, every shaper without exception estimated the overall cost price of an average board – including materials, glassing, overheads and secondary labour – to come in at around R2000 (exc vat).
Most SA shapers sell their boards for around R2 900-R3 000 with fins, so that’s not even a bare-bones 50% mark-up. And this does not include costs like paying themselves a labour wage, or insurance for their business. As anyone in the economic game will tell you, a 50% mark-up is peanuts compared to other businesses, especially for something as labour-extensive as shaping, were boards take an average between eight to ten hours to make. To draw an analogy, we compared what the guy who unblocks your toilet and fixes your sink gets paid for getting his hands dirty.( Thanks Dad lol) Most plumbers come in at an average of R300 to R400 an hour. And justifiably so, it’s hard, professional graft. But at that rate you’d be paying R7 500 minimum for your next stick, factoring in a modest 50% mark-up. Shaping machines do help reduce labour, but shapers still pay on average R200 to have a board cut, and then there is still all the fine-tuning, glassing and sanding to be done. We haven’t even begun to take into account yet the huge wealth of specialised skills and expertise many shapers carry, which you pay for dearly in most other professions.
We then cast our beady eye around the world to see what the average going prices for surfboards come in at. And here’s what I found, working out on average from a minimum of five different boards per country:
1) USA - $652 = R4 586
2) Australia - $755 = R5 212
3) Japan – 125000 Yen = R10 520
4) UK – 440 pounds = R4 876
5) Indonesia – Indo Rupiah 5 000 000 = R4 047
Average global surfboard cost = R5 848,20
THE OUTCOME: We’re paying around half the approximate global surfboard price for quality shapes in SA. The bottom line is that shapers rely n our business to keep the most vital cog in this industry turning. Without your local foam guru, we’d be nowhere, surfing rusty old logs that could barely float us and we’d probably end up doing something like golf or cycling. And you don’t even want to start talking about how much they cost.
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