FPDesign
"Design is a Lifestyle, design is everything and everywhere."
FPDesign
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crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
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Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
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Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
                                                        &&
Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
                                                        &&
Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
                                                        &&
Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
                                                        &&
Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
                                                        &&
Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
                                                        &&
Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
                                                        &&
Cross Connect Mag // Facebook - Flickr - Twitter
crossconnectmag:

The’ Bloom’ series of Hand Blown Glass Sculptures by David Patchen
I find glass as seductive as it is challenging. As a particularly unforgiving medium, an artist has endless creative opportunities to design for its unique properties—the only limitations are their imagination and skill in working with the material. I’ve always been captivated by how one can use this enigmatic material to achieve virtually any form, hold elements in suspension, and achieve great detail or soft abstraction. Its flexibility as a medium is matched by the difficulty it presents in using it to execute precise work.    My current work is an intensive exploration of patterns, colors and transparency created through multi-layered cane and murrine (colored rods and patterned cross-sections of glass). While varied in composition and design, I most often create work within a series of graceful forms that I consider three dimensional canvases. The diversity in my compositions reflects my desire to constantly experiment and explore a variety of ideas simultaneously. Some themes in my work include windows into or through a piece, things hidden & revealed and extreme detail. Colors in contrasting and/or complimentary tertiary tones woven into complex patterns challenge expectations of the amount of detail glass can carry and its place in the art world. My influences include textiles, ethnically distinct colors and shapes as well as the marine environment.
Creating my work begins with meticulous planning and designing of colors and patterns. After I pull the cane and murrine, I carefully compose these elements to design the final work, all days prior to blowing it. I enjoy this process of thoughtful creativity and the contrasting intensity of executing work in the hotshop, where the limited window to shape molten glass requires precision and urgency. The dual challenge of designing and executing complex work satisfies both the artist and the craftsman in me and I continually find it exciting to create a piece I’ve poured days over, watching it come to life in the fire.
                                                        &&
Cross Connect Mag // Facebook - Flickr - Twitter
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the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
the-gasoline-station:

You’ve probably already seen Ricardo Bofill’s Factory, his renovation of Spain’s oldest cement factory into his residence. Now, you can also tour the stunning space with the architect himself: In Residence: Ricardo Bofill.
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melazcosmo:

First Samurai | © Brain Mash
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definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
definitelydope:

Moving TimeBy Gem Fletcher
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beardbrand:

Rider via hollygrail138
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justnickofficial:

for more, check out: www.justnick.tk
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playstatixn:

Luxury // Urban // Nature // Fashion
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crossconnectmag:

reblog from pixography:

Paolo Troilo ~ "Finger Paintings"
Paolo Troilo is known for his incredibly expressive black and white works that have a photorealistic quality about them. Of course, that’s not the most interesting part. The highly energetic pieces were not created by charcoal or pastel, they were made by splattering and spreading paint on canvas using nothing but fingers. Yes, these are finger paintings using only his hands and jars of black and ivory acrylic paints. He consistently depicts himself as the only subject in his work.
Troilo states that this change of technique occurred in 2004 when “I did it with my hands because I… forgot to buy the brushes!”
<source>
crossconnectmag:

reblog from pixography:

Paolo Troilo ~ "Finger Paintings"
Paolo Troilo is known for his incredibly expressive black and white works that have a photorealistic quality about them. Of course, that’s not the most interesting part. The highly energetic pieces were not created by charcoal or pastel, they were made by splattering and spreading paint on canvas using nothing but fingers. Yes, these are finger paintings using only his hands and jars of black and ivory acrylic paints. He consistently depicts himself as the only subject in his work.
Troilo states that this change of technique occurred in 2004 when “I did it with my hands because I… forgot to buy the brushes!”
<source>
crossconnectmag:

reblog from pixography:

Paolo Troilo ~ "Finger Paintings"
Paolo Troilo is known for his incredibly expressive black and white works that have a photorealistic quality about them. Of course, that’s not the most interesting part. The highly energetic pieces were not created by charcoal or pastel, they were made by splattering and spreading paint on canvas using nothing but fingers. Yes, these are finger paintings using only his hands and jars of black and ivory acrylic paints. He consistently depicts himself as the only subject in his work.
Troilo states that this change of technique occurred in 2004 when “I did it with my hands because I… forgot to buy the brushes!”
<source>
crossconnectmag:

reblog from pixography:

Paolo Troilo ~ "Finger Paintings"
Paolo Troilo is known for his incredibly expressive black and white works that have a photorealistic quality about them. Of course, that’s not the most interesting part. The highly energetic pieces were not created by charcoal or pastel, they were made by splattering and spreading paint on canvas using nothing but fingers. Yes, these are finger paintings using only his hands and jars of black and ivory acrylic paints. He consistently depicts himself as the only subject in his work.
Troilo states that this change of technique occurred in 2004 when “I did it with my hands because I… forgot to buy the brushes!”
<source>
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typostrate:

VHS Decks
If you love skateboarding and design, you will love these amazing VHS retro decks, remembering the good old times, when we recorded some fresh stuff from mtv. 5 Boro New York City dropped out this series of VHS decks as a dedication to the first videos they took in 1996.
typostrate:

VHS Decks
If you love skateboarding and design, you will love these amazing VHS retro decks, remembering the good old times, when we recorded some fresh stuff from mtv. 5 Boro New York City dropped out this series of VHS decks as a dedication to the first videos they took in 1996.
typostrate:

VHS Decks
If you love skateboarding and design, you will love these amazing VHS retro decks, remembering the good old times, when we recorded some fresh stuff from mtv. 5 Boro New York City dropped out this series of VHS decks as a dedication to the first videos they took in 1996.
typostrate:

VHS Decks
If you love skateboarding and design, you will love these amazing VHS retro decks, remembering the good old times, when we recorded some fresh stuff from mtv. 5 Boro New York City dropped out this series of VHS decks as a dedication to the first videos they took in 1996.
typostrate:

VHS Decks
If you love skateboarding and design, you will love these amazing VHS retro decks, remembering the good old times, when we recorded some fresh stuff from mtv. 5 Boro New York City dropped out this series of VHS decks as a dedication to the first videos they took in 1996.
typostrate:

VHS Decks
If you love skateboarding and design, you will love these amazing VHS retro decks, remembering the good old times, when we recorded some fresh stuff from mtv. 5 Boro New York City dropped out this series of VHS decks as a dedication to the first videos they took in 1996.
typostrate:

VHS Decks
If you love skateboarding and design, you will love these amazing VHS retro decks, remembering the good old times, when we recorded some fresh stuff from mtv. 5 Boro New York City dropped out this series of VHS decks as a dedication to the first videos they took in 1996.
typostrate:

VHS Decks
If you love skateboarding and design, you will love these amazing VHS retro decks, remembering the good old times, when we recorded some fresh stuff from mtv. 5 Boro New York City dropped out this series of VHS decks as a dedication to the first videos they took in 1996.