A sign on the 130-year-old pier at Saltburn-by-the-Sea warns people not to jump off it. On a big surf day surfers make their way to the end of the sturdy 206 metre structure and jump like lemmings into the cold, murky North Sea. Words: Simon Palmer Photos: Ian Forsyth

Mark Sankey discusses the merits and faults of EPS with two of Britain's finest craftsmen, Mark Dickinson and Rob Lion, both of whom have been shaping the stuff with style for a good few years now... [photos by Ollie Banks]

When the ‘Apocalypse Now’ film crew packed up and left the Philippine coastal town of Baler, they left one important item behind – a surfboard. More than 30 years on and this quiet backwater is home to a stoked crew of welcoming locals. Words: Mark Sankey Photos: Alexa Poppe

In Senegal the deserts of North Africa meet the jungles of the tropics. It's an open–minded Islamic country of many cultural experiences and idiosyncrasies; it's also one of the safest and democratic countries in Africa. And of course there's the surf... Words: Mark Sankey Photos: Alexa Poppe

Mark Sankey and Alexa Poppe discover Autumn's aquatic gifts in a late September road trip spanning France and Spain. Words: Mark Sankey. Photos and Design: Alexa Poppe

Chris Preston chats to Neil Randall of if6was9 about his radical take on traditional board design, Noosa's retro vibe, and his love of vintage style. Photos Dane Peterson


Go lateral

March 05, 2010 | Words By: Chris P

go-lateral Good surfing doesn’t always mean you have to dominate the wave.

I’m going to expand a little on the things I touched on in A quiver approach – if you’ve already read it you’ll know there is a common thread to my own choice of surfcraft. Personally I believe style is all important in surfing, I don’t care how radical your turns are, if you have an ugly style, I’m not interested.

Having been initially drawn to the style inherent in traditional longboarding, once I started to experiment with shorter boards I looked for shapes that would still allow a smooth flowing style, one that works with the wave, rather than trying to beat it into submission.

When I’m trying to explain it to others I often term it like this: conventional shortboarding is all based on getting vertical, drawing very “up & down” lines on the wave. The surfing I’m into is based very much on drawing more flowing lateral lines on the wave, heavy singlefin logs on small waves, two- and four-fin fish on bigger waves and, lately, the ultimate lateral trim machine – the displacement hull.

If you watch a decent amount of video of these designs you will notice that there is a consistency to the tracks they draw, even though the direction changes may get a little more radical as the length comes down. I think you can draw a line through history based on this observation, from the very earliest surfcraft  through to these modern boards, whereas modern day shortboards represent the endpoint of a branch that sprouted following the “shortboard” revoloution of the late sixties when there was a global reaction against almost the principal of “trim” itself.

Some of you will relate to that, some of you will think it’s boring surfing. Thats cool. Each to their own – the world would be a boring place if we all liked the same thing. but I know I’m not the only one who feels this way.


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