Brett D Hardy

longboardsMUNK

longboards

MUNK

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 hand-crafted longboards.

As seen on this page i have my early sketches, while on the opposite page i have the �nal three logo designs.

Bergen County, New Jersey

longboardsMUNK

longboardsMUNK

longboards

MUNK

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 hand-crafted longboards.

As seen on this page i have my early sketches, while on the opposite page i have the �nal three logo designs.

Bergen County, New Jersey

longboardsMUNK

Our Stock WC longboard.

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.

WC

longboards

MUNK

Customers design on our 3C longboard.

longboardsMUNK

longboard

s

MUNK

Customers design on our 3C longboard.Our Stock 3C longboard.

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.

3C

longboards

MUNK

Our Stock WC longboard.

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.

WC

longboards

MUNK

Customers design on our 3C longboard.

longboardsMUNK

longboard

s

MUNK

Our Stock EC longboard.

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.

ECCustomers design on our 3C longboard.

ASOT 550 Tour

ASOT 550 Tour

March 25,2012 8:00 pm Roseland Ballroom NYC

March 25,2012 8:00 pm Roseland Ballroom NYCTickets on MadeEvents.comTickets on MadeEvents.com

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 e�orts of Brett Hardy.

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Well, if you dismiss everyday things as rubbish, you live visually in a pretty bleak world. On the other hand, if you can find beauty and interest in everyday things it makes for much richer days and can en-hance your overall living experi-ence. The importance for the viewer, well they may take away a different perspective of how they view their world, things they notice or become intrigued with. It can help you to live more in the moment, to take note of the stuff around you. Life is short enjoy it.

$29.99ISBN-32843227766

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is neve too much.Type is never too much.Type is never too much.Type is never too much.Type is never too

much.Type is never too much.Type is never to

ISBN-32843227766$29.99

Type is never too

much.Type is never too much.Type is never too

much.Type is never too much.Type is never too much.Type is never too

much.Type is never too much.Type is never too much.Type is never too much.Type is

never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type

is neve too much.Type is never too much.Type is never too much.Type is never too much.Type is never too

much.Type is never too much.Type is never to

Typography

Grunge

What are you talking about?" And it was many years later that someone explained to me that, basi-

cally, there was this group that spent a lot of time trying to organise things, get

some kind of system going, and they saw me going in and throwing that out the window, which I might've done,

but it wasn't the starting point, that wasn't the plan. Only much later I learned what determines modernism,

and this and that...

In a interview with David Carson he was asked what was his

training or artist routine when he was a amateur. David carson repliedI 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 experiment-ing, really. So when people started

getting upset, I didn't really understand why, I said, "What's the big deal?

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Well, if you dismiss everyday things as rubbish, you live visually in a pretty bleak world. On the other hand, if you can find beauty and interest in everyday things it makes for much richer days and can en-hance your overall living experi-ence. The importance for the viewer, well they may take away a different perspective of how they view their world, things they notice or become intrigued with. It can help you to live more in the moment, to take note of the stuff around you. Life is short enjoy it.

$29.99ISBN-32843227766

Type is never too

much.Type is never too much.Type is never too

much.Type is never too much.Type is never too much.Type is never too

much.Type is never too much.Type is never too much.Type is never too much.Type is

never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type

is neve too much.Type is never too much.Type is never too much.Type is never too much.Type is never too

much.Type is never too much.Type is never to

ISBN-32843227766$29.99

Type is never too

much.Type is never too much.Type is never too

much.Type is never too much.Type is never too much.Type is never too

much.Type is never too much.Type is never too much.Type is never too much.Type is

never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type is never too much.Type

is neve too much.Type is never too much.Type is never too much.Type is never too much.Type is never too

much.Type is never too much.Type is never to

Typography

Grunge

What are you talking about?" And it was many years later that someone explained to me that, basi-

cally, there was this group that spent a lot of time trying to organise things, get

some kind of system going, and they saw me going in and throwing that out the window, which I might've done,

but it wasn't the starting point, that wasn't the plan. Only much later I learned what determines modernism,

and this and that...

In a interview with David Carson he was asked what was his

training or artist routine when he was a amateur. David carson repliedI 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 experiment-ing, really. So when people started

getting upset, I didn't really understand why, I said, "What's the big deal?

QGSBaskervilleBaskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Bir-mingham, 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.

The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of Wil-liam Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.

Baskerville’s typeface was the culmi-nation of a larger series of experi-ments 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 cur-sive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excellent choice to con-vey dignity and tradition.

In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some fifty

other classics. In 1758, he was ap-pointed printer to the Cambridge University Press. It was there in 1763 that he published his master work, a folio Bible, which was print-ed using his own typeface, ink, and paper.

The perfection of his work seems to have unsettled his contempo-raries, 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 on-set of the modern typefaces such as Bodoni, Baskerville was revived in

Page 1 Page 2

The Tuxedo of typefaces:

1917 by Bruce Rogers, for the Har-vard University Press and released by Deberny & Peignot. In 1923, the typeface was also revived in Eng-land by Stanley Morison for the British Monotype Company as part of its program of revivals. Most re-cently, the Baskerville typeface was used as the basis for the Mrs Eaves typeface in 1996, designed by Zu-zana Licko.

The font is used widely in docu-ments issued by the University of Birmingham. A modified version of Baskerville is also prominently used in the Canadian government’s cor-porate identity program—namely, in the ‘Canada’ wordmark.

gq

For the elite and pretigious writers and thinkers, those who unknowlingly always stand out

from the crowd.

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QGSBaskervilleBaskerville is a transitional serif typeface designed in 1757 by John Baskerville (1706–1775) in Bir-mingham, 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.

The Baskerville typeface is the result of John Baskerville’s intent to improve upon the types of Wil-liam Caslon. He increased the contrast between thick and thin strokes, making the serifs sharper and more tapered, and shifted the axis of rounded letters to a more vertical position. The curved strokes are more circular in shape, and the characters became more regular. These changes created a greater consistency in size and form.

Baskerville’s typeface was the culmi-nation of a larger series of experi-ments 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 cur-sive serifs in the Baskerville Italic. The refined feeling of the typeface makes it an excellent choice to con-vey dignity and tradition.

In 1757, Baskerville published his first work, a collection of Virgil, which was followed by some fifty

other classics. In 1758, he was ap-pointed printer to the Cambridge University Press. It was there in 1763 that he published his master work, a folio Bible, which was print-ed using his own typeface, ink, and paper.

The perfection of his work seems to have unsettled his contempo-raries, 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 on-set of the modern typefaces such as Bodoni, Baskerville was revived in

Page 1 Page 2

The Tuxedo of typefaces:

1917 by Bruce Rogers, for the Har-vard University Press and released by Deberny & Peignot. In 1923, the typeface was also revived in Eng-land by Stanley Morison for the British Monotype Company as part of its program of revivals. Most re-cently, the Baskerville typeface was used as the basis for the Mrs Eaves typeface in 1996, designed by Zu-zana Licko.

The font is used widely in docu-ments issued by the University of Birmingham. A modified version of Baskerville is also prominently used in the Canadian government’s cor-porate identity program—namely, in the ‘Canada’ wordmark.

gq

For the elite and pretigious writers and thinkers, those who unknowlingly always stand out

from the crowd.

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