Violet Flame Orgone

While sea-faring crafts get the dominant focus around here, there are actually a wide variety of artisans using composites to craft their wares. A mere 20 miles from our Ventura location, Ojai is an enclave for such folks and an epicenter for the Orgone community. What is Orgone? Here’s the overview from Jamie Mann,

Orgone and the energetic healing potential of orgonite is based on the research of Dr. Wilhelm Reich, an Austrian psychiatrist. He observed a bio energetic force within all living organisms while researching the physical effects of emotion on the body. He named this energy Orgone and developed powerful healing devices from his discovery. Since his death in 1957, many have continued his research and have discovered that the suspension of metals and quartz crystal within cured polyester resin, results in the formation of a matrix which aligns, magnifies, and directs healing Orgone energy. The final product is called orgonite.

When Jamie became a regular customer, we were not only enamored by the sheer beauty of the pieces that she was creating, but we were intrigued to learn that the chemical properties and behavior of polyester resins accentuate and even magnify the effects of the various metal and crystals used in orgonite.

Again, more from Mann,

I use polyester resin because part of its molecular structure includes a chain of carbon atoms – making it an “organic” compound, which attracts energy. It also has a high rate of shrinkability when curing, which creates extra force on the surface of the quartz. This pressure magnifies the already present electrical charge on the surface of the quartz, amplifying the holistic healing properties of this abundant mineral. The new generation of Orgone devices balance the harmful effects of modern pollutants on the environment and ourselves.

The quartz crystal receives a significant energetic charge on its surface from the compression of the resin on the quartz during the curing process (piezo electricity). Polyester resin has a significant capacity to absorb electromagnetic energy and the metals both attract and reflect these energies; a powerful trinity that is greater than the sum of its parts.

Obviously, we needed to know more. We asked Jamie to explain more about her process.

I use Fiberglass Hawaii’s MEKP, resin tints and workshop supplies. I start out with a mold and energetic intention and a crystal combination to support the realization of the intention. I pour in multiple layers over anywhere from 2 to 10 hours. Some of my layers are only a quarter of an inch, so the biggest part of my learning curve has been adjusting the amount of catalyst so as not to have cracks in my final pieces. Prior to starting Violet Flame, I had ZERO experience with resin of any kind. Learning the right ratios of catalyst has been the largest learning curve for me. I need it to be glass-smooth but, without cracking. Also, based on inspiration, I will choose different tints for color. I also use your wax in my final layer to make the post curing sanding process easier on my arms.

As for the raw materials encased in the resin, I use metals of varying kind and density. My favorite metal is copper.  Copper has a more feminine energy and is a fantastic conductor of energy.  I also use a lot of different types of minerals and I always use quartz for the piezoelectric effect and to enhance the energy cleansing potential of the orgonite.  Living in Ojai, I am surrounded by an abundance of flowers, plants, trees and bees.  I spend some days gathering fallen flowers, leaves, etc. to use in my pieces in order to connect more deeply to the healing energy of Mother Earth.

Orgone is a relatively untested “science.”  So, in my years of creating orgonite, I have really surrendered to the subtle energy healing potential of my work. I create each piece with a prayer for it to help people hone their own internal intentions for healing, growth, and ultimately to find a greater sense of peace in their lives.

Learn more, purchase a piece and follow Jamie’s work on social media.

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5 Essential Tools: Scott Larese

Scott Larese and Jeff Pupo of Larese Lamination

Having the right tool for a job helps eliminate wasted hours and frustration. Our goal with “5 Essential Tools” series is to have the experts guide us into which specific tools have allowed them to thrive in their careers.

Scott Larese of Larese Laminations is a longtime Ventura board builder. His impressive resume includes an array of styles from the high-performance shortboards at Channel Islands to custom color work for Wayne Rich, William Denis and a host of other shaping luminaries. We wanted to know, given his decades of experience, what 5 tools are indispensable for him.

Follow Scott Larese’s work on Facebook

and here: @Larese_Lamination


My main tool that I cannot live without are my trusty scissors. I’ve cut miles of cloth with this one pair that I’ve had for 15. Those scissors have cut cloth for boards for Kelly Slater, Dane Reynolds, and thousands of everyday surfers. Probably over 10,000 boards have been built with that pair of scissors. The handle has worn grooves into my thumb bone.

It’s a pair of Wiss, extra heavy duty, bent handle shears. They are kind of the industry standard, but they don’t make that exact pair anymore. I’ve tried newer versions, but they just aren’t the same. And in fact, I have 4 different pairs, but this one 15 year old pair is the only pair that I use. I have a mobile sharpener come about once a month that keeps them in perfect condition.


I love the basic, yellow 6” spreader. I know a lot of guys use the white squeegee, but whenever I’ve used those I always feel like I’m leaving too much resin behind. I prefer the basic spreader. It seems to pull the resin out, so I can leave it fully saturated, but still light and tight. I’ll use it until it has a bow in it. A box will last me six months or so. It’s not a better tool than the squeegee, it’s just what I’m used to. I know exactly how much pressure to apply. It’s just an extension of my hand. But I also know plenty of guys feel that way about the neoprene squeegee, so I suppose it’s just whatever you started using that feels most familiar.


A razor blade is another essential tool. They are practically single-use for me. A laminator does a lot of things with a blade; evening out a cured lap, scraping it away instead of using sandpaper, getting out bubbles, it helps you get a clean cut lap. I use them to lay out paper. And again, I can’t stand a dull blade, so I’ll usually just use it once, toss it, and grab a fresh one.




You guys (FGH) call them tongue blades, I like those and just plain stir sticks. They are a hugely under-appreciated tool. I use them every single day in a variety of ways. I use it for way more than just stirring. I do a lot of abstract work so it allows me to make clean thin lines. It allows me to use just enough resin so it’s not pooling on the board. There are different things you can do to the stick to get the resin to drip from it at different speeds and thicknesses. Sometimes I let resin cure on it just to build an icicle that allows for a different effect. I’ll also use the stick as a measuring device, to size up a leash plug, or mark how far from the rail a fin needs to be, or how far off the tail I need carbon to sit. Such a simple but useful little tool.


The 5th tool is a little embarrassing. It’s a custom made lap tool for drawing a clean line. I’m sure I’ll be called a kook by other laminators, but I’m not a very good tape puller. I need a little cheat. I’ve been pulling tape my entire career, and I’ve practiced so much, but I’m just not any good at it. I need all the help I can get so I use a lap tool. I feel a little shame admitting it, but the tool is so helpful that I kinda want to showcase it.

The guys I laminate for like Wayne Rich, they demand absolute precision and this tool allows me to execute that. A friend gave me this awesome little tool that he had custom machined. I think it cost him about $600 to have manufactured. I’ve had it for a few years now and it’s completely reduced my anxiety for this one little part of the job that I always dreaded. I used to use a pencil or a scribe, but you’d get deep groove in the foam and pencil line that you’d need to blow out with an air gun. This is a specialized tool with a razor blade mounted on it that I use just to cut the tape. You could also cut the cloth after it’s cured, but I just use it to give my clean initial line. It’s a really smartly designed tool that allows me to do my job more precisely and quickly.

For all of Fiberglass Hawaii’s Tutorials and products visit

and follow @FiberglassHawaii

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Fiberglass Hawaii Legacy: Bob Haakenson


In celebration of our 50th anniversary, we’ll be highlighting a few longstanding members of the FGH family.

Since 1966 we’ve been supplying the construction, marine, fishing, and surf industry with composites and building materials. While our product line has evolved and expanded, our focus has always been centered around personal relationships. Our legacy is not our own, it is shared among our numerous customers. And we are very proud to share it with Santa Barbara’s own, Bob Haakenson.


I started surfing in Encinitas when I was 13 years old. My first board was a balsa board I found in the bushes, all beat up and my first experience working with resin was while fixing that balsa board.

Hobie Alter, early 60s.

Hobie Alter, early 60s.

Shortly thereafter, my dad took me up to Hobie Alter’s place to introduce me to this new product called “Clark Foam”. I was instantly mesmerized. I loved the smell of the place; the foam, the wood. All these high-tech, lightweight boards. I bought my first polyurethane board that day, a Hobie, for $75.

Swami’s was my local spot. Al Merrick (who was also from Encinitas) and I surfed it day after day with no one around.

We used to look up at the cliff, hoping that someone would come down and surf with us. Then, in the mid 60’s the 5 freeway was built through Encinitas and it seems like Swami’s was overcrowded, overnight. Al moved to Santa Barbara in 1966, and I followed in 1967, mainly just to avoid the crowds in San Diego. I absolutely loved Santa Barbara. Bitchin’ place. We surfed Rincon completely uncrowded.

Gordon Clark at Clark Foam, Circa 1970s

Gordon Clark at Clark Foam, Circa 1970s

I surfed the huge ’69 swell here (Santa Barbara), then caught it in Hawai’i. I stayed there, had a glass shop at the base of the Waimea tower for 3 years. I’d get hot midday while laminating, so I’d run down to Waimea and bodysurf the shore break or surf Pinballs. I was the only guy surfing Pinballs at that time. I used one particular board that had huge repairs. Obviously, this was the pre-leash era, and if you lose your board at Pinballs it’s guaranteed to hit the rocks.

Waimea Bay, 1960s. Photo by Ron Church

Waimea Bay, 1960s. Photo by Ron Church

I left Hawai’i in ’73, came back to Santa Barbara and reconnected with Al Merrick. He had a pretty substantial board business going by ’73 so I started glassing surfboards for him. I worked out of his space originally, but eventually transitioned into this little shed up above Refugio where I stayed for 10 years. That was really neat. It overlooked everything from El Cap to Refugio; God’s country.



Bob with the Channel Island’s team in the late 70s

Bob with the Channel Island’s team in the late 70s

Over the course of the past 40 years here in Santa Barbara, I’ve used Fiberglass Hawaii’s materials to help build Tom Curren’s boards while he was winning world titles, Shaun Tomson’s, Kelly’s for a number of years, Dane’s (Reynolds); all the team riders.

I started making boards when I was 18, working with Bear Mirandon. I’ve glassed for Gordon & Smith, Hansen, Surfboards Hawaii. I came up with their “Model A” surfboard as a team rider, which Ed Wright shaped. That became their biggest seller, and incidentally, I’m riding a very similar board right now. It’s similar but wth asymmetrical adjustments, made by Al Merrick.


I’ve actually transitioned to riding exclusively asymmetrical boards nowadays. Especially riding these right-hand point breaks around Santa Barbara. My toe-side rail is longer which enables more drive from the board, but the heal-side rail line is much shorter and cut out at the tail, so it creates a much tighter turning radius both off the lip and on the open face. It has the speed and paddle benefits of a longer board, but the performance characteristics of a shorter board.

Wayne Rich surveying Bob’s finish work on his latest creation. And Bob in 2010.

Wayne Rich surveying Bob’s finish work
on his latest creation. And Bob in 2010.

I finish a lot of Wayne Rich’s boards and he’s explored asymmetry in depth. We made Tommy Curren an asymmetrical 5 fin recently, but I haven’t heard any feedback yet. He’s really preoccupied with that skimboard right now. Asymmetry has really revitalized my passion and interest in both surfing and board design.

We’ve been in this current location, on Kellogg, for about 15 years now. Board building has changed a lot over the decades, but at the same time, the fundamentals haven’t changed at all. There’s a few new names, but we’re also still building boards for the same shapers we started with. It’s been a great half century and we’re thrilled to keep going!

Renny Yater at Hammonds by Dick Perry

Renny Yater at Hammonds by Dick Perry

Bob Haakenson’s current client list includes Marc Andrieni, Renny Yater, PJ Wahl, Dave Parmenter, Bruce Fowler, John Lalanne, Joey Boards, and many more.

and follow @FiberglassHawaii to learn more about our 50 year legacy of providing fine fiberglass and composite materials.

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Concrete Canoe Build


The polished plug for this year’s concrete canoe.

Every year the engineering department at the University of Hawaii Manoa participates in the American Society of Civil Engineers (ASCE) national collegiate competition where each school has to build and paddle a concrete canoe. We know exactly what you’re thinking, “can you even make a concrete canoe that doesn’t sink?” and more importantly, “why would you want to?”

As you can imagine, it takes a lot of effort to design, mold, build and finish a concrete canoe and that’s where a handful of local businesses stepped in to help. Fiberglass Hawaii helped the students procure materials while local canoe manufacturers, Kamanu Composites and Jay Dowsett, allowed students to use their facilities, mine their expertise and sometimes even their personal materials all in an effort to help make the best finished concrete canoe possible.

We sat down with Nick Herrera and Reyn Yoshimura who are part of this year’s UH competition team. You may remember Nick from our Rocket Build blog from last year. Nick has worked for Kamanu Composites for several years now and has some great knowledge on canoe building which is a big plus for this year’s upcoming competition.

Fiberglass Hawaii (FGH): So it looks like you guys have been busy lately. We’ve been seeing a lot of you in the shop. Tell me what are we looking at right here?


Nick and Reyn lining up the foam on the CNC machine

Reyn Yoshimura (RY): This right here is the plug that Nick helped us make. We cut the foam using Kamanu Composites CNC machine. We took it over to Jay Dowsett’s place where he helped us mold it over the weekend.

FGH: That’s so cool that you have these guys with all of this knowledge lending a hand. How long did that take to cut?

Nick Herrera (NH): It took about eight hours to cut it out.

FGH: That is crazy! Most people probably think that it takes like 20 minutes to cut out foam on a high-tech machine. How big was the block of foam you cut the plug out of?

NH: 12’ by 4’ by 9 1/4”. We had to do multiple cuts too. The bottom is two pieces, 8” deep and the top is 6 pieces that are also image28” deep and then we glued them all together.

FGH: How did you guys do that?

NH: We just glued them together with epoxy and then puttied the seams. After that we glassed the entire plug using some 6 oz cloth and 3:1 epoxy we got from your shop.

FGH: Very cool. How did you guys get such a smooth finish?

NH: After we glassed it we puttied the outside, let it cure, sanded it and then just did that a few times until it was smooth. Then we primered the outside. After that, we sanded, wet sanded and then buffed the primer out.


The polished out plug

FGH: Sounds like a lot of work already! What’s the deal with this competition? It sounds counterintuitive for an engineering department to want to build a super heavy and slow canoe.

RY: I guess it’s kind of like the whole feat of being an engineer, trying to do something that’s really challenging. The whole idea is to make a concrete boat float and light.

FGH: It still sounds crazy to me. Plus you have Nick who makes super fast canoes with Kamanu which has got to be tough to think about making a concrete canoe.


Note the bumpy finish and rounded nose from the previous year


Note the smooth finish and sleek design of this year’s canoe

RY: Yeah, but it’s a national competition that’s been around for a long time so it’s pretty cool in that sense.

FGH: What do you have to do to win this competition?

RY: There are four categories. Final product, which includes what the canoe looks like. There’s a display day that everyone displays their canoes at. There’s the racing. There’s a men’s sprint, men’s endurance, women’s sprint, women’s endurance and then there’s a coed sprint race.


FGH: How many people are paddling the canoe?

RY: For the regular races there are two and in the coed race there are four paddlers.

FGH: How much would a four man canoe weigh if it was a traditional fiberglass lay up?

NH: About 200 pounds.

FGH: How much will the concrete canoe weigh?

RY: This one will weigh about 300 pounds.

FGH: That’s really not as heavy as I thought it would be. So wait, how do you pop it out of the mold if it weighs 300 pounds?

NH: We haven’t figured that out yet.

RY: We’re going to get there.

FGH: I am glad I don’t have to try to pop a beast like this out of a mold! How have you done it in the past?

RY: Well in the past we had a male mold so it was easy to do.


The concrete canoe curing inside of the female mold

FGH: Why did you do a female mold this time?

RY: The finish on the outside comes out so much nicer this way. It comes out perfect, ready to go.

FGH: Well luckily you’re engineers so you’ll figure out a way.


RY: Check this out. This is traditional concrete (hands me a concrete cylinder). And this is what we use (hands me another concrete cylinder that is much lighter).

FGH: What the? Why is it so much lighter?

RY: It’s a huge difference! We use glass bubbles as a filler. You guys brought in K37 for us because you stock K25.

FGH: How did those work out?

RY: It worked out great as you can feel. The glass bubbles actually make it stronger too unlike other glass bubbles that are weak.

FGH: So it helps to hold it together, add strength and keep it light?

RY: Yeah, there’s less trapped air.

FGH: Sounds like a lot of materials and work go into each step.

NH: Yeah, you guys helped us out a lot with the glass, resin and fillers. It wouldn’t have been possible without Keizo (Kamanu Composites), Jay, and you guys.

FGH: Very cool. When are you guys going to get this out in the water?

RY: Concrete usually takes 28 days to reach its full strength. After that we’ll do some filling and more sanding and then seal it. Probably late January 2016.

FGH: Well I look forward to watching you guys test paddle this soon. Good luck and we’ll be seeing you soon.

Stay tuned for the follow-up to see how Nick, Reyn and the rest of the UH engineering students do in this year’s concrete canoe competition to be held in June in Tyler, Texas. Fiberglass Hawaii is dedicated to selling the best materials available. If you don’t see something in one of our stores or online then feel free to ask us about it and maybe we have an alternative or we can bring it in for you. We also love being involved with our customers and contributing our time and knowledge so let us know if your school or club has a project that requires a little extra guidance. Be sure to follow us on Facebook and Instagram. Shop 24/7 at the all new

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Get a Smooth Finish on Your Next Project

The Fiberglass Hawaii Finish Shaping Pad is essential to any professional or aspiring shaper. This tool is most commonly used with full sheets of sand screen to achieve a smooth finish on various foam surfaces. This is a finishing tool so it is used after the more aggressive shaping tools have cut and shaped the blank. When used correctly, the finish shaping pad will clean up scratches and smooth out the surface in order to prepare the surface for glassing. Choose your grit, place it on the foam, place the flat side of the pad face-down and apply moderate pressure using your hand. For best results scrub nose to tail and use long, fluid motions opposed to short, choppy motions which will cause unwanted high and low spots. Watch the video for more info.

Don’t forget about the other Fiberglass Hawaii shaping tools that make shaping more accurate and fun, without breaking the bank. Check them out below and remember to tag us in your project posts using #fiberglasshawaii so we can see how you are using our products in your projects.

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Get Hands On At Dust & Fumes

Surfboards are a beautiful thing; part art, part science and pure fun. It’s these qualities that entice someone to try to shape their own board. Shaping can be an intimidating task for a first timer. What blank should I use? Which tools do I use? How do I use the tools that I have? Where can I shape a surfboard? Luckily Fiberglass Hawaii supplies the tools, materials and knowledge to get you going. On Oahu you can put those tools and knowledge to work at Alex Nguyen’s shop named Dust & Fumes.

alexboardBefore we get too far into it, these guys do way more than building surfboards. They build custom cars, motorcycles, fabricate parts, woodworking, graphic design, printing and pretty much anything else that can be customized. Don’t worry, we’re going to dive into all of that fun stuff on another blog. For now, we’re just going to focus on the board building aspect.

Since we’ve been supplying blanks, drums of resin, acetone, tints, pigments, cloth and all the glassing goodies for the new shop, Alex invited us over to check it out. Although the shop is not 100% finished it is still very impressive and totally functional. We had a chance to ask him some questions about the surfboard side of his shop and here’s what he had to say.

FGH: What kind of business is Dust & Fumes and how did you come up with the name?

Alex: Dust & Fumes is first, and foremost, a glassing factory.  But we have also expanded it to be a lifestyle brand that includes apparel/accessories and fiberglass and resin work for surf, motorcycle, and automotive needs.  The name Dust & Fumes originated from my fiancé, who always complained about the dust and smell of the fumes in the factory, from glassing and sanding.

glassshopFGH: How did you get into surfboard building?

Alex: I worked at a small surf shop and from there, I met the shapers who would sell their boards in the shop.  At the time, I was really into trying all types of shapes, but didn’t have the money for lots of different boards.  I figured I could learn how to build my own for a little less money, and a couple of shapers and glassers took me under their wing.  I found that I really enjoyed the process and kept going from there.

razorrailsFGH: Historically surfboard builders are tight lipped about their board building process. It seems like you’re willing to share your knowledge and enjoy discussing different techniques.

Alex: We can certainly be tight lipped about certain aspects of the building process, because we are always working new techniques. I think that if the regular surfer knows what goes into making a surfboard they will appreciate it more and be understanding when it comes to just how much time, effort, and work goes into their final product.

shaperoomFGH: Why do you want to open up your shop to brand new, green horn, fresh out of the womb, wann-a-be board builders?

Alex: I will always feel like a new board builder myself because there are always new techniques and technology that I can keep learning.  I will forever be a learner and I’d love to be there for anyone else who would like to learn and better themselves as well.  I know what it feels like to pay your dues. In some ways the old style of being so “tight-lipped” and closing off the public to the process hinders the growth of the industry who feeds us and keeps us happy.

FGH: What’s the main focus of the “surf” side of Dust & Fumes?

Alex: We are available for glassing services and specialize in color resin work.  We also currently have two shaping rooms that are available for free use and we will glass and finish their shaped boards (for a list of set prices).

through windowFGH: Give me the breakdown of how someone can schedule the room to shape their own board.

Alex: We are currently taking shaping room bookings over the phone (808) 349-4791.  They can call us at this number and we can get the relationship going from there.

For more information on Dust & Fumes check out their Instagram @dustandfumes and online at You can also see some of Alex’s surfboards on Instagram @ninjasurfboards. If you want to check out all the materials we supply then head on over to and remember to tag us on your social media projects so we can see what you’re building using #Fiberglasshawaii products.


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Bright is the NEW Black

It's clear to see that ProLink is the superior resin in this side by side yellowing test.

It’s clear to see that ProLink is the superior resin in this side by side yellowing test.

Epoxy lovers rejoice! Fiberglass Hawaii is proud to offer ProLink Epoxy systems. The latest ProLink surfboard resin is just one of many new products coming down the pipe from our collaboration with ProLink. Here’s why this resin is so great and why you should be using this on your EPS boards.

RR Close Up

ProLink is the most UV stable surfboard epoxy on the market. We have tested it against the most popular surfboard epoxy resins in our sun test. We laminated samples of foam using the same fiberglass and hot coating procedure. After a five day cure time, we then covered half of each sample with a piece of cardboard and left them out in the super hot Hawaiian sun to bake over a three day period for a total of 24 hours. Take a look at the pictures to see how the ProLink just barely dulled while the competitors resin turned yellow.

PL Close UPAesthetics aren’t the only thing though, usability is important and ProLink is a simple 2:1 mixing ratio by weight. Two parts resin to one part hardener. This resin has a medium viscosity which allows it to stay on the board while you are working with it instead of having it end up on the glass shop floor. Did we mention it saturates really well? All you have to do is spread it around and it will soak into multiple layers of fabric with ease. Here are some typical handling properties for Pro Link.

 Gel Time (150g mix @ 77 °F) (40 min)

 Thin Film Set Time @ 77 °F (2.5 hr.)

 Peak Exotherm (100g mix @ 77 °F) 210 °F

 Heat Deflection Temp HDT):

-24 hrs. @ 25°C

-Ultimate HDT 91°C

Here are some other applications that ProLink is great for:


-Casting and Tooling

-Marine and Protective Coatings

-Automotive Coatings



-Vacuum Bag

Last but not least, it cures super hard and can withstand a lot of punishment. If you haven’t already seen our “smack test” on Instagram then check it out below.


You can contact us for more information on ProLink Epoxy Resin you can email or call any one of our four locations listed below.

Honolulu- 808.847.3951

Wahiawa- 808.621.5667

Maui- 808.871.7955

Ventura- 805.644.0009


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