Shyama Buttonshaw: Colouring Outside The Lines | Talking Heads
Born into a family of celebrated artists, Shyama Buttonshaw initially chose a different path, becoming a competitive surfer. His athletic background and ambition set the stage for a unique journey in the world of surfing.
Shyama's transition into shaping followed a similar trajectory. With a 6'0" thruster setup, he embraced the art of board shaping, but his career took an unexpected turn due to injuries and new influences. Despite the setbacks, his desire to push performance levels remained unwavering.
Today, at 33, Shyama occupies a unique position. He not only shapes boards under his own label but also continues the family tradition in his own distinct style. His journey from shortboards to longboards and gliders is a testament to his adaptability and passion for the sport.
Swellnet: You've primarily been seen riding longboards and gliders. When did you transition to this style, and what inspired this change?
Shyama Buttonshaw: I started my surfing career on shortboards, competing in the pro junior circuit during my teens. I surfed for Simon Anderson, which provided me with a solid foundation in design even before I began shaping.
When did you start shaping, and how did you learn the craft?
I began shaping after finishing high school. I worked on ding repairs with Maurice Cole for three and a half years. During this time, I also learned the basics of shaping and laminating from Sean Nettleton at Nettleton Surfboards.
Sean Nettleton is renowned for his expertise in laminating. How did he influence your learning process?
Sean is undoubtedly one of the best board builders in the world. His quality is unparalleled. I was fortunate to learn from him, and his mastery of the art significantly contributed to my understanding of board building.
You've been riding shortboards and shaping them as well. When did you transition to longboarding, and what inspired this change?
My transition to longboarding was prompted by a severe knee injury while tow surfing. I hesitated on a wave, thinking I was too deep, and straightened out. The fall resulted in a head injury and a torn ligament in my left knee, keeping me out of the water for sixteen months.
During my recovery, I crafted my first longboard and several alternative boards and gliders. This process ignited my passion for longboarding, as I discovered new feelings and sensations that I hadn't experienced before.
You categorize surfboards as passive and active. How do these categories differ, and why do you prefer the active approach?
Shortboards are inherently active. You must keep the board engaged to generate speed, and while you can achieve higher top-end speeds, it's all on you to create that speed. In contrast, passive boards rely on trim and placement in the right part of the wave to find energy pockets. When that happens, the board and wave work together, eliminating the need for your own speed generation.
You've embraced the active approach, even with single-fin boards. Can you elaborate on this style and its benefits?
Single-fin boards are also passive. I've seen guys like Alex Knost execute similar maneuvers in smaller waves, creating a potent feeling. I started riding my boards that way in small waves, and it evolved naturally. I discovered that these boards, or gliders, are designed for baby waves but can be ridden in larger waves, offering a sense of discovery and rewarding moments.
Your shaping style incorporates unique design features. Can you describe your approach to shaping and how it differs from traditional methods?
My gliders have a distinct design compared to San Diego-style gliders. They feature a continuous curve through the rocker, with a low leading rocker that gradually curves rather than the parallel and abrupt changes seen in Skip Frye's or Josh Hall's designs. This allows me to surf them further forward in larger surf, expanding the sweet spot.
You mentioned using pre-shapes for customer orders. How do you balance hand-shaping and computer-aided design?
I combine both methods. I learned hand-shaping from Corey Graham and always explore designs through hand-shaping. However, when working with customers, I use pre-shapes to isolate design properties. Hand-shaping can be challenging when isolating specific designs due to the decision-making process involved.
You've noticed a lack of attention to weight distribution and stance in mass consumer markets. How does this impact your shaping process?
I've noticed a clear difference between back-footed and front-footed surfers. The kind of rocker I'd put into their boards varies accordingly. While the general public might admire a surfer like Occy, his boards are straight, almost like negative tail rocker, which wouldn't suit a front-footed surfer. I adjust my designs based on customer feedback and preferences.
Your family has a strong artistic background. How important is color in surfboard design, and how do you approach it?
Color is crucial in surfboard design, especially given my family's artistic heritage. It provides instant gratification and objectivity. I've studied artists like Josef Albers, whose book 'The Interaction Of Colour' offers a framework for exploration. I've applied overlap tints, where the top and bottom tints are lapped over each other, creating color variations based on the dominant insert color of the deck or bottom.
Despite discussions about color theory, your primary focus remains on pushing your equipment to new surfing territories.
Considering the importance of shape, do customers typically leave the coloring to you?
I'm fortunate that three-quarters of my customers leave the coloring to me or provide rough parameters based on my previous work. I've avoided external references, which has allowed me to focus on my own exploration and ensure that surfboard making remains fulfilling.
Your family's influence has played a significant role in your shaping journey. How have your parents and siblings contributed to your artistic development?
My dad and brother have been excellent sounding boards, offering valuable influences. My brother's exhibition inspired some of the colored greys I use in my boards. While I've taken these influences and applied them to my unique style, my shaping process is largely driven by my own exploration and experimentation.
You've expressed frustration with the social media aspect of shaping. How do you balance the desire for mystery and the need for engagement on social media?
It's challenging to maintain a sense of mystery while engaging on social media. I find it frustrating that people film the entire process, dismantling the sense of discovery. However, some shapers have successfully navigated this, like Ellis Ericson and Ryan Burch, who are gifted surfers and shapers. It's a delicate balance between sharing and preserving the allure of the craft.
