Brett D Hardy
M lo Munk Longboards is my personal longboard company. In my Graphic Design Two class I was assigned a project to create a logo, website pages, and catalog for a company of my choice. I longboard as a hobby, so I thought it would be cool to create a longboard company. My intent was to create this company which made and produced it’s own handcrafted longboards. As seen on this page i have my early sketches, while on the opposite page i have the final three logo designs.
Bergen County, New Jersey
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Our Stock WC longboard.
Customers design on our 3C longboard.
WC Length: 37” Width: 8.5”
Wheelbase: 23”
Constructed entirely of Canadian Red wood. Shown with 180mm Reverse King Pin carving trucks ; 9.5 milli meter X 22 milli meter Abec 5 bearings. Our WC longboard shape brings surf style to the urban environment. The shape and mellow concave lets it dominate on any urban mission.
MUNK
longboards
Our Stock 3C longboard.
Customers design on our 3C longboard.
3C Length: 44” Width: 9”
Wheelbase: 30”
Constructed entirely of Canadian Red wood. Our 3C longboard has a dropped platform with a wedged nose and de-wedged tail. This enables the rider to be closer to the ground; also making it easier to push and foot-break. Shown with 180mm Reverse King Pin carving trucks ; 9.5 mm X 22 mm Abec 5 bearings.
MUNK
longboards
Our Stock EC longboard.
Customers design on our 3C longboard.
EC Length: 41” Width: 9.5”
Wheelbase: 27.25”
Constructed entirely of Canadian Red wood. Shown with 180mm Reverse King Pin carving trucks ; 9.5 milli meter X 22 milli meter Abec 5 bearings. Our EC longboard is cut into a knife like shape. This board is very unique, which i highly doubt any other longboard company has in their roster.
ASOT 550 Tour
March 25,2012 25,2012 8:00 8:00 pm pm March Roseland Ballroom Ballroom NYC NYC Roseland Tickets on on MadeEvents.com MadeEvents.com Tickets
LIONS GATE FILMS Presents a BRETT HARDY PRODUCTION. Starring Lorenz Tate,Derek Luke,Meagan Good, Lauren London, and Terry Crews. All Directoring and other hard work all done by the efforts of Brett Hardy.
Grunge
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Typography
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$29.99 ISBN-32843227766 In a interview with David
Carson he was asked what was his
training or artist routine when he was a amateur.
David carson replied
I have no formal training in my field. In my case I've never
learned all the things I'm not
supposed to do. I just did what made sense to me. I was just experimenting, really. So when people started getting upset, I didn't really understand why, I said, "
What's the big deal?
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The Tuxedo of typefaces:
Baskerville Baskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Birmingham, England. Baskerville is classified as a transitional typeface, positioned between the old style typefaces of William Caslon, and the modern styles of Giambattista Bodoni and Firmin Didot.
For the elite and pretigious writers and thinkers, those who unknowlingly always stand out from the crowd.
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Baskerville’s typeface was the culmination of a larger series of experiments to improve legibility which also included paper making and ink manufacturing. The result was a typeface that reflected Baskerville’s ideals of perfection, where he chose simplicity and quiet refinement. His background as a writing master is evident in the distinctive swash tail on the uppercase Q and in the cursive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excellent choice to convey dignity and tradition.
The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of William Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper In 1757, Baskerville published his and more tapered, and shifted the first work, a collection of Virgil, axis of rounded letters to a more vertical position. The curved strokes which was followed by some fifty are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.
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Q G other classics. In 1758, he was appointed printer to the Cambridge University Press. It was there in 1763 that he published his master work, a folio Bible, which was printed using his own typeface, ink, and paper.
The perfection of his work seems to have unsettled his contemporaries, and some claimed the stark contrasts in his printing damaged the eyes. Abroad, however, he was much admired, notably by Fournier, Bodoni (who intended at one point to come to England to work under him), and Benjamin Franklin. After falling out of use with the onset of the modern typefaces such as Bodoni, Baskerville was revived in
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1917 by Bruce Rogers, for the Harvard University Press and released by Deberny & Peignot. In 1923, the typeface was also revived in England by Stanley Morison for the British Monotype Company as part of its program of revivals. Most recently, the Baskerville typeface was used as the basis for the Mrs Eaves typeface in 1996, designed by Zuzana Licko. The font is used widely in documents issued by the University of Birmingham. A modified version of Baskerville is also prominently used in the Canadian government’s corporate identity program—namely, in the ‘Canada’ wordmark.
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