Here are a range of shirt designs I have made of some of my designs for Threadless.com.......ENJOY!
Thursday, August 4, 2011
New Shirt Designs!
Here are a range of shirt designs I have made of some of my designs for Threadless.com.......ENJOY!
Thursday, July 21, 2011
Computer Arts - What makes the perfect portfolio?
What makes the perfect portfolio?
Your portfolio needs to convey not just your creative talents and skills but also your personal qualities. As such it’s essential that it says only good things about you…
Picture, if you will, a piteous scene: you’ve just heard you didn’t get that latest job, the one you couldn’t stop yourself daydreaming about. What’s stupid is that you have the talent, you’ve even done similar work before – and done it well. But that just wasn’t enough. Desperate for an explanation, you start running through the things which could have kept you from the top slot: that new aftershave was stronger than expected, and you did make the mistake of handing your coat to the head of personnel... but no, that can’t be it.
You reach for the trusty old soldier you’ve been humping your work around in since your days on foundation, and you pause. A thoughtful look creeps on to your face as you scratch chewing gum from the frayed edge of the zipper. Could it be that your portfolio has been letting you down? Perhaps it made you look shoddy and unprofessional and that’s the reason you didn’t get the job? Well, duh!
Obviously there’s more to it than the mere quality of your folio’s manufacture, but the competition is tough, so the last thing you want to do is give anyone an excuse to overlook you. Designers may give the impression of being psychic, but they rarely are: the portfolio is how they will gauge you and your work. It has to be perfect.
Have a word with my agentAs an agent of the Central Illustration Agency, Ben Cox sees a lot of portfolios, but to get to that stage your work has already been vetted. Cox says: “We generally get approached by between five and ten illustrators per day who want us to represent them.” Not many of these will get to the portfolio stage, mind you.
“We always ask people to email in examples or direct us to a URL first because it’s just a pain in the arse having to handle folios you’re not going to be interested in.” Cox makes this point well: if you handle portfolios all the time, you probably don’t see them as cherished artifacts but as cumbersome, expensive to ship and frequently unrewarding.
So the first thing to establish is whether a portfolio is appropriate. “We even try to avoid people sending in printed samples if possible,” adds Cox. “Storage space is an issue for an agency of our size.” Even if you’re perfect for the job, it’s worth thinking through your approach so your folio can become part of a process.
Perseverance“Persistence definitely pays off,” says Bloc Media’s Rick Palmer. “Email it. Then call to check that it was received. Call a week later to see if you’ve been considered yet.” Be careful though, because, says Palmer, “It’s a delicate balancing act, as you don’t want to upset your prospective new employer, but if you keep it respectful and friendly, persistence can pay dividends.” Vary your approach, and monitor your work to see what gets results. Be methodical about it because there’s plenty of competition out there but there’s also plenty of work. Palmer acknowledges this: “Digital is stronger now than ever and that means there’s a real demand for good people.” If you have the talent then settling for second best is foolish. “I see a LOT of bad work,” adds Palmer “so when I see someone with obvious talent it’s really exciting!”
Digital agency Bloc prefers to be hit with an email in the first instance. This is the initial hurdle, according to Palmer: “When you’re looking for a job, no matter how creative or laid back the agency is, show some respect! You might be the funniest guy on the block, but we don’t know you yet and it’s hard to tell if you’re joking in an email. Safest bet is to play it straight at this stage.” After all, if you don’t get through this bit, you can have the most awe-inspiring folio in the world but nobody will see it.
Next stop for a Bloc candidate should be a portfolio website – a list of URLs is pointless. “You’re looking for a job, right? Make it easy for us to assess your ability,” says Palmer. And if you’ve made it this far: “You live or die on the strength of your website.” That comment is particularly illuminating because the website and the portfolio are one and the same in this context. It just seems easier to be more cut and dried about a website. The message is simple: make that portfolio do some work.
It’s all good“As long as the idea is good, we don’t care if it’s been crocheted into a whoopee cushion,” says Love Creative’s Simon Griffin. “There’s nothing more disappointing than being able to guess what you’re going to see when you turn the page or click the mouse.”
On the other hand, we have this observation from Rick Palmer: “Presentation is everything.” You’re meant to be demonstrating that you’re a creative person. Palmer continues: “If you’re applying for a job developing effective communications for big brands, you need to demonstrate your ability to communicate, right?” It’s just common sense, as Ben Cox points out: “You’ve got to display a genuine respect for your own work, or you can’t expect anyone else to.”
Cox continues: “There mustn’t be a single DPS in that folio that you’re not really proud of. You can’t have any filler – you can’t afford to.” The Central Illustration Agency aims for 30 or so pieces of work, and, according to Cox, “It’s got to be good at the back as well as the front because you never know which way it’s going to be read.” A descending order of quality could be fatal.
Surprisingly, tailoring of folios isn’t highly recommended. CIA doesn’t do it as a general rule, preferring to give a coherent picture of their artists. Bloc has a similar take on the situation. “We never hire someone with a specific project in mind,” says Palmer. “Generally we stick to a policy of full-time, in-house staff only, as this helps us to develop a sense of family and belonging in the studio – and a deeper, more intuitive creative understanding of one another.”
Adapt and overcome
You know your own work, but you’re not always the best person to judge its merits. The online portfolio makes the situation very clear indeed, says Rick Palmer: “I read somewhere that we decide whether to stay at a single online destination in under one second.” That doesn’t give you time to explain why you did something in a quirky but annoying way.
Palmer’s advice is universally applicable: “If you can, try and find a fresh pair of eyes to look at your handiwork when it’s finished – an unbiased (for example, mums not allowed) opinion can tell you a lot.” It may not all be what you want to hear, but try to take it on board constructively.
“Rather perversely, I found that the crits where you get a bit of a slating are the most useful ones,” says Love Creative’s Simon Griffin. “So long as it’s constructive and you listen to what they have to say.” The worst word you can hear is ‘like’. “‘Like’ is a bad word: ‘Love’ and ‘Hate’ are good,” says Griffin.
What matters is that you learn to adapt your portfolio. Roll with the punches, and if you disagree with a criticism, ask yourself why. Is it simply because you spent the time and effort on that piece? “The most annoying moments come when people are too stuck in their ways to listen to our opinion,” says Griffin. If you can’t agree at this point, what will it be like once you’ve got your feet under the table?
Form factor
Print work can be demanding: it requires you get past the initial on-screen viewing, have a viable website and also a physical portfolio. And nothing is certain until that physical folio has passed muster. “An online portfolio is important because that’s very possibly the first place they’re going to see your work,” agrees Ben Cox. “But, certainly here in the UK, people really like to see a printed book.” And it’s not just a formality: “I’ve seen stuff before that looks great on screen but just doesn’t hold up nearly so well in print.” Another important aspect of the physical folio is practicality: “The folios we use are made by Prat. They’re A4, leather, and very hard-wearing.” Cox explains that, this is the logical size for print applications: “Whether we’re talking about adult fiction, a press advert, record sleeve, or editorial. If your work doesn’t work well at A4 size then there’s a problem.”
Then, once it gets to an agency, there’s a usability issue to consider. Cox again: “When you’ve got a bunch of creatives, traffic and art buyers having meetings with the board members of the company they’re working for, you just want to have something that’s very easy to hand around the table.”
Then, of course, you have the cells: “The old zip-up style folio with those horrible orange peel textured cells just aren’t impressive,” says Cox. Viewers need to be able to see the work without feeling mediated as, particularly in busy environments, the work will rarely make it out of its little plastic sleeve. If you want to leave a mark, you could always leave some printed cards that they can keep.
And while we’re at it, adds Cox: “Print full bleed. What’s the point of having a border, or sticking work onto black sugar paper? It looks ridiculous.” Let the work speak for itself, give it room to breathe and make sure the folio itself is as self-effacing as possible.
Finding the right levelOne reason for the content of your portfolio to vary is your level. “Depending on the position you’re applying for, the work varies dramatically,” says Palmer. “A senior creative should be able to demonstrate a number of large commercial projects, well-written case studies and outstanding graphics.” Otherwise, they wouldn’t be a senior. For a junior, the bulk of large projects won’t be there yet so will be less of a focus: “A junior designer just needs to show a good understanding of the creative process,” says Palmer. “Some interesting non-commercial work is good and they should demonstrate a good sense of humour and fun in their portfolio.”
It might seem a little strange, but sense of humour and personality matter here as much as anywhere. Simon Griffin concurs on this point: “They need to realise that this is the only thing we can use to get an impression of their personality. And we all know personality goes a long way.”
The ambition is not to produce something cold and efficient: a clinical report. It’s a creative ‘get to know you’. Griffin goes on: “It’s a question of looking at all of their work and their personality, then seeing how that ties in with our visions for the agency.” After all, if things go well, you could be working with these people for the next few years.
Even if you’re freelancing on a smallish job, personality will be important because, in the main, design is a collaborative exercise. Perhaps with this in mind Griffin adds: “I think it’s important that people look at employment as a two-way relationship. It’s not just an agency hiring someone, or someone taking a job: it’s a mixture of both.”
Special considerations
If your folio does you justice, it will find its way into the right hands eventually. “The word will always get around if someone sees a good book,” says Griffin, “and we’ll probably try and hold on to it until everyone’s had a look.” It’s their job to spot talent and it’s your job to make that as easy as possible.
Love Creative is a cross-media agency so not only will folios come in all shapes and sizes but their content will also vary wildly. “It’s difficult to look at work restricted to just one medium,” says Griffin. “It’s all very well having a fantastic online portfolio, but it doesn’t necessarily give you a feeling for an interesting DM (direct marketing) piece, for example.”
Don’t be afraid of breaking a mould or two – Love Creative’s own portfolio is a giant Ladybird-style book. “As with all great ideas this one came out of last-minute panic,” says Griffin. Love needed something simple that would help it stand out from the crowd and, Griffin explains, “This was the only idea we could realistically do before the deadline. It made a really good impression, so we decided to make some more.”
Now, this isn’t a charter for portfolio madness; a giant children’s book would be impractical for most people. That said, clever solutions will always be appreciated, but they need to be solutions, not just pointless exercises in over-complication. Necessity is the mother of invention.
Getting to know you
The portfolio is an integral part of the ‘getting to know you’ process which the creative industries rely on. It can and should be much more than just a CV because it’s at the heart of what an artist does – it’s the docking mechanism between new designer and larger organisation. If the fit is okay, traffic between the two can commence and that may or may not lead to employment.
“When people come in, get a feel for the place, show us their work and still want to come back again then it’s a good sign that there’s some chemistry going on,” says Griffin. “A link to a website is fine if you just want people to see your work, but it’s not very personable. And you can’t go for a drink with a website either.”
Ben Cox is right on the money when he observes: “The portfolio gives an indication of how people present themselves generally, and how professionally they are likely to work in a commercial environment.” If your folio is being sent on without you, it has to be all the more personable and convincing because it can’t get a round in.
Rick Palmer makes a very compelling argument for ensuring your folio is up to scratch. “There are” he notes, “a lot of mediocre designers out there.” If you don’t want to be mistaken for one of them, presenting a well-thought-out, carefully crafted portfolio is essential.
You reach for the trusty old soldier you’ve been humping your work around in since your days on foundation, and you pause. A thoughtful look creeps on to your face as you scratch chewing gum from the frayed edge of the zipper. Could it be that your portfolio has been letting you down? Perhaps it made you look shoddy and unprofessional and that’s the reason you didn’t get the job? Well, duh!
Obviously there’s more to it than the mere quality of your folio’s manufacture, but the competition is tough, so the last thing you want to do is give anyone an excuse to overlook you. Designers may give the impression of being psychic, but they rarely are: the portfolio is how they will gauge you and your work. It has to be perfect.
Have a word with my agentAs an agent of the Central Illustration Agency, Ben Cox sees a lot of portfolios, but to get to that stage your work has already been vetted. Cox says: “We generally get approached by between five and ten illustrators per day who want us to represent them.” Not many of these will get to the portfolio stage, mind you.
“We always ask people to email in examples or direct us to a URL first because it’s just a pain in the arse having to handle folios you’re not going to be interested in.” Cox makes this point well: if you handle portfolios all the time, you probably don’t see them as cherished artifacts but as cumbersome, expensive to ship and frequently unrewarding.
So the first thing to establish is whether a portfolio is appropriate. “We even try to avoid people sending in printed samples if possible,” adds Cox. “Storage space is an issue for an agency of our size.” Even if you’re perfect for the job, it’s worth thinking through your approach so your folio can become part of a process.
Perseverance“Persistence definitely pays off,” says Bloc Media’s Rick Palmer. “Email it. Then call to check that it was received. Call a week later to see if you’ve been considered yet.” Be careful though, because, says Palmer, “It’s a delicate balancing act, as you don’t want to upset your prospective new employer, but if you keep it respectful and friendly, persistence can pay dividends.” Vary your approach, and monitor your work to see what gets results. Be methodical about it because there’s plenty of competition out there but there’s also plenty of work. Palmer acknowledges this: “Digital is stronger now than ever and that means there’s a real demand for good people.” If you have the talent then settling for second best is foolish. “I see a LOT of bad work,” adds Palmer “so when I see someone with obvious talent it’s really exciting!”
Digital agency Bloc prefers to be hit with an email in the first instance. This is the initial hurdle, according to Palmer: “When you’re looking for a job, no matter how creative or laid back the agency is, show some respect! You might be the funniest guy on the block, but we don’t know you yet and it’s hard to tell if you’re joking in an email. Safest bet is to play it straight at this stage.” After all, if you don’t get through this bit, you can have the most awe-inspiring folio in the world but nobody will see it.
Next stop for a Bloc candidate should be a portfolio website – a list of URLs is pointless. “You’re looking for a job, right? Make it easy for us to assess your ability,” says Palmer. And if you’ve made it this far: “You live or die on the strength of your website.” That comment is particularly illuminating because the website and the portfolio are one and the same in this context. It just seems easier to be more cut and dried about a website. The message is simple: make that portfolio do some work.
It’s all good“As long as the idea is good, we don’t care if it’s been crocheted into a whoopee cushion,” says Love Creative’s Simon Griffin. “There’s nothing more disappointing than being able to guess what you’re going to see when you turn the page or click the mouse.”
On the other hand, we have this observation from Rick Palmer: “Presentation is everything.” You’re meant to be demonstrating that you’re a creative person. Palmer continues: “If you’re applying for a job developing effective communications for big brands, you need to demonstrate your ability to communicate, right?” It’s just common sense, as Ben Cox points out: “You’ve got to display a genuine respect for your own work, or you can’t expect anyone else to.”
Cox continues: “There mustn’t be a single DPS in that folio that you’re not really proud of. You can’t have any filler – you can’t afford to.” The Central Illustration Agency aims for 30 or so pieces of work, and, according to Cox, “It’s got to be good at the back as well as the front because you never know which way it’s going to be read.” A descending order of quality could be fatal.
Surprisingly, tailoring of folios isn’t highly recommended. CIA doesn’t do it as a general rule, preferring to give a coherent picture of their artists. Bloc has a similar take on the situation. “We never hire someone with a specific project in mind,” says Palmer. “Generally we stick to a policy of full-time, in-house staff only, as this helps us to develop a sense of family and belonging in the studio – and a deeper, more intuitive creative understanding of one another.”
Adapt and overcome
You know your own work, but you’re not always the best person to judge its merits. The online portfolio makes the situation very clear indeed, says Rick Palmer: “I read somewhere that we decide whether to stay at a single online destination in under one second.” That doesn’t give you time to explain why you did something in a quirky but annoying way.
Palmer’s advice is universally applicable: “If you can, try and find a fresh pair of eyes to look at your handiwork when it’s finished – an unbiased (for example, mums not allowed) opinion can tell you a lot.” It may not all be what you want to hear, but try to take it on board constructively.
“Rather perversely, I found that the crits where you get a bit of a slating are the most useful ones,” says Love Creative’s Simon Griffin. “So long as it’s constructive and you listen to what they have to say.” The worst word you can hear is ‘like’. “‘Like’ is a bad word: ‘Love’ and ‘Hate’ are good,” says Griffin.
What matters is that you learn to adapt your portfolio. Roll with the punches, and if you disagree with a criticism, ask yourself why. Is it simply because you spent the time and effort on that piece? “The most annoying moments come when people are too stuck in their ways to listen to our opinion,” says Griffin. If you can’t agree at this point, what will it be like once you’ve got your feet under the table?
Form factor
Print work can be demanding: it requires you get past the initial on-screen viewing, have a viable website and also a physical portfolio. And nothing is certain until that physical folio has passed muster. “An online portfolio is important because that’s very possibly the first place they’re going to see your work,” agrees Ben Cox. “But, certainly here in the UK, people really like to see a printed book.” And it’s not just a formality: “I’ve seen stuff before that looks great on screen but just doesn’t hold up nearly so well in print.” Another important aspect of the physical folio is practicality: “The folios we use are made by Prat. They’re A4, leather, and very hard-wearing.” Cox explains that, this is the logical size for print applications: “Whether we’re talking about adult fiction, a press advert, record sleeve, or editorial. If your work doesn’t work well at A4 size then there’s a problem.”
Then, once it gets to an agency, there’s a usability issue to consider. Cox again: “When you’ve got a bunch of creatives, traffic and art buyers having meetings with the board members of the company they’re working for, you just want to have something that’s very easy to hand around the table.”
Then, of course, you have the cells: “The old zip-up style folio with those horrible orange peel textured cells just aren’t impressive,” says Cox. Viewers need to be able to see the work without feeling mediated as, particularly in busy environments, the work will rarely make it out of its little plastic sleeve. If you want to leave a mark, you could always leave some printed cards that they can keep.
And while we’re at it, adds Cox: “Print full bleed. What’s the point of having a border, or sticking work onto black sugar paper? It looks ridiculous.” Let the work speak for itself, give it room to breathe and make sure the folio itself is as self-effacing as possible.
Finding the right levelOne reason for the content of your portfolio to vary is your level. “Depending on the position you’re applying for, the work varies dramatically,” says Palmer. “A senior creative should be able to demonstrate a number of large commercial projects, well-written case studies and outstanding graphics.” Otherwise, they wouldn’t be a senior. For a junior, the bulk of large projects won’t be there yet so will be less of a focus: “A junior designer just needs to show a good understanding of the creative process,” says Palmer. “Some interesting non-commercial work is good and they should demonstrate a good sense of humour and fun in their portfolio.”
It might seem a little strange, but sense of humour and personality matter here as much as anywhere. Simon Griffin concurs on this point: “They need to realise that this is the only thing we can use to get an impression of their personality. And we all know personality goes a long way.”
The ambition is not to produce something cold and efficient: a clinical report. It’s a creative ‘get to know you’. Griffin goes on: “It’s a question of looking at all of their work and their personality, then seeing how that ties in with our visions for the agency.” After all, if things go well, you could be working with these people for the next few years.
Even if you’re freelancing on a smallish job, personality will be important because, in the main, design is a collaborative exercise. Perhaps with this in mind Griffin adds: “I think it’s important that people look at employment as a two-way relationship. It’s not just an agency hiring someone, or someone taking a job: it’s a mixture of both.”
Special considerations
If your folio does you justice, it will find its way into the right hands eventually. “The word will always get around if someone sees a good book,” says Griffin, “and we’ll probably try and hold on to it until everyone’s had a look.” It’s their job to spot talent and it’s your job to make that as easy as possible.
Love Creative is a cross-media agency so not only will folios come in all shapes and sizes but their content will also vary wildly. “It’s difficult to look at work restricted to just one medium,” says Griffin. “It’s all very well having a fantastic online portfolio, but it doesn’t necessarily give you a feeling for an interesting DM (direct marketing) piece, for example.”
Don’t be afraid of breaking a mould or two – Love Creative’s own portfolio is a giant Ladybird-style book. “As with all great ideas this one came out of last-minute panic,” says Griffin. Love needed something simple that would help it stand out from the crowd and, Griffin explains, “This was the only idea we could realistically do before the deadline. It made a really good impression, so we decided to make some more.”
Now, this isn’t a charter for portfolio madness; a giant children’s book would be impractical for most people. That said, clever solutions will always be appreciated, but they need to be solutions, not just pointless exercises in over-complication. Necessity is the mother of invention.
Getting to know you
The portfolio is an integral part of the ‘getting to know you’ process which the creative industries rely on. It can and should be much more than just a CV because it’s at the heart of what an artist does – it’s the docking mechanism between new designer and larger organisation. If the fit is okay, traffic between the two can commence and that may or may not lead to employment.
“When people come in, get a feel for the place, show us their work and still want to come back again then it’s a good sign that there’s some chemistry going on,” says Griffin. “A link to a website is fine if you just want people to see your work, but it’s not very personable. And you can’t go for a drink with a website either.”
Ben Cox is right on the money when he observes: “The portfolio gives an indication of how people present themselves generally, and how professionally they are likely to work in a commercial environment.” If your folio is being sent on without you, it has to be all the more personable and convincing because it can’t get a round in.
Rick Palmer makes a very compelling argument for ensuring your folio is up to scratch. “There are” he notes, “a lot of mediocre designers out there.” If you don’t want to be mistaken for one of them, presenting a well-thought-out, carefully crafted portfolio is essential.
Nike SB Koston One Paradise Aqua/Slate Blue | Hypebeast
In what marks Eric Koston’s first signature shoe model for Nike SB, this SB Koston One style has just been unveiled in a cool, stylish blue on blue colorway. Having removed the sneaker’s midsole, the insole has been lined with a Lunerlon material to provide even more support. With a skateboard-specific tread to enhance grip when riding and neoprane collar for improved comfort around the ankle, the sneaker also features a suede upper with seamless lining. Available for purchase now through select Nike SB accounts around the world, including Flatspot.
Rudimentary Perfection from Recoat on Vimeo.
Rudimentary Perfection from Recoat on Vimeo.
The UK’s first comprehensive “Graffuturism” exhibition titled Rudimentary Perfection brings together an impressive group of notable international artists linked by their innovative spirit & shared graffiti heritage. Each of these artists has ventured down a unique path, offering a radical take on expressive, figurative and letter-based abstraction. The participating artists include SheOne, Duncan Jago, Jaybo Monk, Matt W. Moore, Augustine Kofie, Nawer, Morten Andersen, Poesia, Derm and Mark Lyken.
rudimentaryperfection.blogspot.com/
via Hypebeast.
Kanye West & Jay-Z – Otis
Without further ado, Kanye West and Jay-Z share their brand new single today entitled “Otis.” The song pays tribute to the soulful legend utilizing cuts from his 1966 classic, “Try a Little Tenderness.” The artwork for the album is provided Riccardo Tisci who’s also serves as the creative director Givenchy. Watch The Throne is set to drop on August 1, 2011 with a pre-ordering option available now throughwww.watchthethrone.com.
Via Hypebeast
Source: Life + Times
Travel Essentials | Hypebeast
Travel Essentials | Hypebeast
When it comes to time to board that long trans-Pacific haul (sitting in economy nonetheless), you can’t help but think, traveling sucks. Crammed into tiny seats with increasingly ridiculous airline fees, terrible food, germ-infested re-circulated air; Airplane travel doesn’t have a lot going for it. Yet, it’s a necessary evil that one must endure. Setting foot in a new unfamiliar locale offers a certain bit of invigoration and instantly you can’t help but pay attention to your new surroundings. Suddenly that 13 hour flight and a case of stiff knees and neck pain doesn’t seem so bad after all. In the case of the process versus the final goal (or in this case, destination), few actually care for the process. So we’ve amassed a group of frequent flyers who can hopefully offer some insights into some of their tips and secrets for travel.
Shepard Fairey @ The West Hollywood Library | Hypebeast
Shepard Fairey @ The West Hollywood Library | Hypebeast
The West Hollywood Library is currently undergoing a deluxe facelift thanks to the work of three supremely talented street artists curated by MOCA: Kenny Scharf, Shepard Fairey and RETNA. Stepping up to bat as the second artist to get to work on the building, Fairey has begun his installation on a bright yellow wall that he has created for a canvas. Painstakingly using stencils to give birth to his final design (which takes a much longer time than the wheatpasting street artists usually utilize), Fairey’s piece is still very much a work-in-progress, but impressive already nonetheless.
The West Hollywood Library is currently undergoing a deluxe facelift thanks to the work of three supremely talented street artists curated by MOCA: Kenny Scharf, Shepard Fairey and RETNA. Stepping up to bat as the second artist to get to work on the building, Fairey has begun his installation on a bright yellow wall that he has created for a canvas. Painstakingly using stencils to give birth to his final design (which takes a much longer time than the wheatpasting street artists usually utilize), Fairey’s piece is still very much a work-in-progress, but impressive already nonetheless.
Wednesday, July 20, 2011
Free High Resolution Textures - Lost and Taken
Check out Lost and Taken , it's a website bringing you FREE textures. Sah-weet.
image courtesy http://lostandtaken.com/
Wednesday, July 6, 2011
LASCO: The Making of an American Shoe Shop
LASCO Brand Introduction from LASCO on Vimeo.
Out of the dusk of California industry comes Los Angeles Shoe Company (LASCO) and this new, introductory brand video. Entitled “The Making of an American Shoe Shop,” this short film piece not only explores how the tradition of hand-crafting footwear in the United States died but also how LASCO is working hard to restore it. Every single material used on LASCO’s kicks, from laces to insole foam to leather, is domestically-sourced and assembled by human beings in Los Angeles. Aside from the patriotic, feel-good ethos that the brand is using as a selling point, the shoes themselves look impressive. From chukkas to standard lace-up hard bottoms and what appear to be basic high-top sneakers, the video offers a nice sneak peek at the subtle, premium leather shoes that LASCO will surely be known for in the near future.
Source: Vimeo
Friday, July 1, 2011
TGIF
Here are some random things I have been finding this week that I like, and that make me want to go create. Enjoy and Happy Friday!
COMBO X Moleskine: "INK SMOKE OVER STAPLED NOTES"
COMBO X Moleskine: "INK SMOKE OVER STAPLED NOTES"
Being I own an '08 Sentra, these really caught my eye.
omsk167 Point of View Graffiti | Hypebeast
This is a pretty cool video of the POV of graffiti. Very nicely shot. Very Fresh.
Monday, June 6, 2011
Apple iOS 5 Coming this fall!
Apple today previewed iOS 5, the latest version of the world’s most advanced mobile operating system, and released a beta version to iOS Developer Program members. The iOS 5 beta release includes over 200 new features that will be available to iPhone, iPad and iPod touch users this fall. We break down the key highlights and add some information on each below. Further updates regarding these latest developments from Apple are available through the official Apple website.
Notification Center – You get all kinds of notifications on your iOS device: new email, texts, friend requests, and more. With Notification Center, you can keep track of them all in one convenient location. Just swipe down from the top of any screen to enter Notification Center. Choose which notifications you want to see. Even see a stock ticker and the current weather. New notifications appear briefly at the top of your screen, without interrupting what you’re doing. And the Lock screen displays notifications so you can act on them with just a swipe. Notification Center is the best way to stay on top of your life’s breaking news.
Newsstand – Read all about it. All in one place. iOS 5 organizes your magazine and newspaper app subscriptions in Newsstand: a folder that lets you access your favorite publications quickly and easily. There’s also a new place on the App Store just for newspaper and magazine subscriptions. And you can get to it straight from Newsstand. New purchases go directly to your Newsstand folder. Then, as new issues become available, Newsstand automatically updates them in the background — complete with the latest covers. It’s kind of like having the paper delivered to your front door. Only better.
Reminders – Next time you think to yourself, “Don’t forget to…,” just pull out your iPhone, iPad, or iPod touch and jot it down. Reminders lets you organize your life in to-do lists — complete with due dates and locations. Say you need to remember to pick up milk during your next grocery trip. Since Reminders can be location based, you’ll get an alert as soon as you pull into the supermarket parking lot. Reminders also works with iCal, Outlook, and iCloud, so changes you make update automatically on all your devices and calendars.
Reminders – Next time you think to yourself, “Don’t forget to…,” just pull out your iPhone, iPad, or iPod touch and jot it down. Reminders lets you organize your life in to-do lists — complete with due dates and locations. Say you need to remember to pick up milk during your next grocery trip. Since Reminders can be location based, you’ll get an alert as soon as you pull into the supermarket parking lot. Reminders also works with iCal, Outlook, and iCloud, so changes you make update automatically on all your devices and calendars.
Twitter – iOS 5 makes it even easier to tweet from your iPhone, iPad, or iPod touch. Sign in once in Settings, and suddenly you can tweet directly from Safari, Photos, Camera, YouTube, or Maps. Want to mention or @reply to a friend? Contacts applies your friends’ Twitter usernames and profile pictures. So you can start typing a name and iOS 5 does the rest. You can even add a location to any tweet, no matter which app you’re tweeting from.
Camera – Since your iPhone is always with you, it’s often the best way to capture those unexpected moments. That’s why you’ll love the new camera features in iOS 5. You can open the Camera app right from the Lock screen. Use grid lines, pinch-to-zoom gestures, and single-tap focus and exposure locks to compose a picture on the fly. Then press the volume-up button to snap your photo in the nick of time. If you have Photo Stream enabled in iCloud, your photos automatically download to all your other devices.
iMessage – iOS 5 brings the functionality of iPhone messaging to all of your iOS devices―iPhone, iPad and iPod touch. Built right into the Messages app, iMessage allows you to easily send text messages, photos, videos or contact information to a person or a group on other iOS 5 devices over Wi-Fi or 3G. iMessages are automatically pushed to all your iOS 5 devices, making it easy to maintain one conversation across your iPhone, iPad and iPod touch. iMessage also features delivery and read receipts, typing indication and secure end-to-end encryption.
Photos – Turn your snapshots into frame-worthy photos in just a few taps. Crop, rotate, enhance, and remove red-eye without leaving the Photos app. Even organize your photos in albums — right on your device. With iCloud, you can push new photos to all your iOS devices. So if you’re taking photos on your iPhone, iCloud automatically sends copies to your iPad, where you can quickly touch them up before showing them off.
Safari – iOS 5 brings even more web-browsing features to iPhone, iPad, and iPod touch. Safari Reader displays web articles sans ads or clutter so you can read without distractions. Reading List lets you save interesting articles to peruse later, while iCloud keeps your list updated across all your devices. On iPad, tabbed browsing helps you keep track of multiple web pages and switch between them with ease. And iOS 5 improves Safari performance on all your iOS devices.
PC Free – With iOS 5, you no longer need a computer to own an iPad, iPhone, or iPod touch. Activate and set up your device wirelessly, right out of the box. Download free iOS software updates directly on your device. Do more with your apps — like editing your photos or adding new email folders — on your device, without the need for a Mac or PC. And back up and restore your device automatically using iCloud.
Wi-Fi Sync – Wirelessly sync your iOS device to your Mac or PC over a shared Wi-Fi connection. Every time you connect your iOS device to a power source (say, overnight for charging), it automatically syncs and backs up any new content to iTunes. So you always have your movies, TV shows, home videos, and photo albums everywhere you want them.
AirPlay Mirroring – Wow your audience in the board room, classroom, or living room. AirPlay now supports video mirroring. Which means you can wirelessly — and securely — stream whatever’s on your iPad 2 to your HDTV via Apple TV. Everyone in the room sees exactly what’s on your iPad display up there on the big screen — even when you rotate iPad from portrait to landscape or zoom in and out on photos.2
Thursday, June 2, 2011
Wednesday, June 1, 2011
Tuesday, May 31, 2011
Audi A1 Clubsport Quattro
Audi will be presenting its A1 Clubsport Quattro showcar at the Wörthersee taking place from June 1-4, 2011. The Audi A1 clubsport quattro is a one-off vehicle built to the limits of technology for breathtaking dynamics. The heart of the Audi A1 clubsport quattro is a classic Audi gasoline engine – a five-cylinder unit displacing 2.5 liters with turbocharging and direct fuel injection. Compared with the version used in the Audi TT RS and RS 3 Sportback on which it is based, the output of the TFSI has been increased dramatically to 370 kW (503 hp) and 660 Nm (486.79 lb-ft) of torque. Maximum power is available between 2,500 and 5,300 rpm. Another area where the A1 clubsport quattro shines is its overall weight of just 1,390 kilograms (3,064 lb). The powerful engine catapults the car from 0 to 100 km/h (62.14 mph) in 3.7 seconds. From 0 to 200 km/h (124.27 mph) takes just 10.9 seconds, while the car goes from 80 to 120 km/h (49.71 to 74.56 mph) in fourth gear in just 2.4 seconds.
The A1 clubsport Quattro rides on 255/30 low-profile tires mounted on 19-inch alloy wheels with a unique turbine design. Sitting behind the wheels are large, internally ventilated disc brakes. Up front, six-piston calipers grab perforated carbon fiber-ceramic discs. Large steel discs are mounted on the rear axle. The coilover suspension of the A1 clubsport quattro features adjustable compression and rebound damping.
The body has a Glacier White and the roof arch in high-gloss black supports a roof made of carbon fiber-reinforced polymer (CFRP), and the four rings at the front of the car are solid aluminum. Large, split air intakes with carbon struts are integrated into the distinctively modified front skirt. The single-frame radiator grille sports a black honeycomb design and the headlights feature matted clasps with a red “wing.” Heat from the engine compartment is dissipated via two large air outlets in the hood.
The front fenders, the doors and the rear side panels of the Audi A1 clubsport quattro have been widened by a total of 60 millimeters (2.36 in). They form horizontal “blister” edges, like those found on the Audi Ur-quattro. Air outlets are integrated into the rear ends of the fenders, and the newly designed trim strips on the sills are made of exposed CFRP. Sleek side mirrors are reminiscent of the Audi R8 high-performance sports car. The rear of the showcar is dominated by the roof spoiler, which features a double wing to provide for sufficient downforce. Darkly toned rear lights and a large, closed diffuser hone the rear view of the A1 clubsport quattro.
This is no family econo-car so there is no rear seat. In its place are a large crossbar to further stiffen the body and storage for racing helmets. A weight-optimized starter battery used in racing is mounted in the rear below the two storage compartments. The strict high-performance concept left no room for an infotainment system, an MMI monitor or even a loudspeaker. The lightweight bucket seats are taken from the Audi R8 GT and feature a chassis made of carbon fiber-reinforced polymer. Red four-point belts secure thedriver and passenger.
The interior of the showcar is a study in dark gray. Large areas are covered with exposed, matt-finished CFRP, including the walls in the rear section of the car, the tubes of the air vents and the “stern of the yacht” in the lower section of the center console. The CFRP material used on the open-spoke sport steering wheel is covered with leather. Rocker switches on the center console replace switches on the control stalk and in the door panels. Three additional instruments indicate the oil pressure, boost pressure and electrical system voltage. The center console and the seats are covered in fine leather upholstery with tone-on-tone stitching. The selector lever is made of aluminum; the caps of the pedals and the surface of the footrest are made of stainless steel. Red loops replace the handles on the doors, the glove box and the covers of the storage compartments.
Though the A1 clubsport quattro will not be sitting on the showroom floor of your local Audi store many of the features of the Audi A1 clubsport quattro will soon show up in the accessories program for the A1 family, which Audi is steadily expanding.
Too Late Neo Watches
Italian brand Too Late presents the Neo Watch for Spring/Summer 2011 – a monochrome bracelet style timepiece with a light-up LED face. Different looks for different folks. They sell them at nano universe and at http://shop.too2late.com/eu/it/content/neo-black for $40 a piece.
Saturday, May 28, 2011
Cee Lo Green – I Want You (Hold On to Love)
The single can be found on his latest album, Lady Killer which is available now through iTunes. See how the lady killer does it right above.
Thursday, May 26, 2011
Etnies X Busy P Sneaker
Etnies and Busy P from Edbanger Records have teamed up. This time the two invite to the Nuits Sonores Festival in Lyon, France. On June 4th the Ed Banger crew will take over the festival, with sets played by DJ Mehdi, Busy P and others. Busy P is also using the occasion to promote his second collaboration sneaker with Etnies, featuring the ‘Busy P W.T.F.!’ graphic by So Me, which we have already seen on a Cool Cats Starter Cap a while ago.
Sunday, May 22, 2011
Incase Rostarr Apple Cases by Arkitip
Slated to release next week, our Rostarr for Curated by Arkitip series features original work by the multidisciplinary artist in a signature style termed “Graphysics.”
Always striving to find freedom within the styles, mediums and forms in which he works, “Graphysics” describes the geometric dynamism characteristic in Rostarr’s work.
Rostarr for Curated by Arkitip will be available on May 25.
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