The Chop Up Ep48 – Morning Breath Inc
Dan: Right. So welcome back episode 48, dude, we’re getting
Dustin: close to 50. Woo-hoo. Shit’s coming
Dan: quick. Yes, yes. We gotta get in the plannings. Stages for 50. Yeah. And
Dustin: then shit hundred after that. What we gotta think of something crazy for a hundred Will, what do you think ? Hot air
Dan: balloon. Big one. . That’ll be a big one.
Dan: Yeah. Maybe
Dustin: underwater. Like take one of those Titanic things down there and yeah,
Dan: we, we’ll figure out something fun. Yeah, we’ll get fun for that one. But yeah, for sure. Heck yeah. I’m always excited about the ones where we’re sitting down with another designer or creative or whatever. Totally.
Dustin: And there’s, to me, there’s kind of some levels.
Dustin: There’s like the peers and then there’s, you know, above and below. Yeah. These dudes for me are, are legends, you know, these are guys I always looked up to. You can make it in this industry even as you get older. You know, like when I started my dad’s like, oh dude, good luck when you get older. It’s like it can work.
Dustin: You know, these guys are living proof.
Dan: So it is, uh, Jason and Doug from Morning Breath. Totally. Yep, yep. Is who we are. Uh, excited to sit down with and Yeah. And chat with today. So Legends. Absolutely. Let’s get into it, guys. Jason, Doug, you there? Right on.
Jason: Thank you for having us. Thanks guys.
Dan: Known about you forever, um, way back.
Dan: Uh, but met you for the first time in person at Crop back in, I think it was 2018 or something.
Dustin: Yeah. Pretty hyped to just to see your guys’ names on the list. We are already gonna be there, so it’s like, yeah, we gotta have a couple beers with, with these dudes. That’s, uh, that’s
Jason: the best part about stuff like those crop things.
Jason: You get to meet people that you’ve known about and, um, meeting in another city that at that point I’d never been to Baton Rouge before, so it was cool to kind of meet up with you guys there and hang out a little bit. It’s a shame. We’re on different Costa. We can’t have it more often, but I guess this is where technology comes in.
Dustin: I don’t know where we’re starting off, but we have a spread open right here. I’m a, so I’m a. Hold on. I’m a, I’m a hip hop head here. So we got this book, we got some classic logos. I know you guys are familiar with these logos here. Uh, personally I would like to start off with, with this stuff, um, I mean the fact, I mean, yeah, we, we do see Jay-Z Eminem, like that, those are big names, but I mean, you got ta lib quali beautiful struggle on there.
Dustin: That’s, uh, that’s some good stuff. So I
Dan: guess, how’d you guys get involved in like the music industry and stuff like that and, and some of those projects prior to being
Jason: at, with morning breath starting? Um, I was, uh, I worked for a company called The Drawing. And the Jordan board was owned by say, Adams, who’s a graffiti writer from New York City, who is a classic old school New York guy who’s done a lot of art and all kinds of design.
Jason: And so he’s got a long history and I went up, worked for him, which became, they were in-house art department for Def Jam records.
Doug: I was doing music at that time, music design and packaging more for kind of an underground scene. A lot of like the, the DJ scene and. Mid to late nineties was really taken off and I was, you know, doing a lot of work specifically with, um, DJ Cubert and those kind of surrounding that camp as well as a few small local labels doing, you know, all their, their illustration design work, as well as working on a animated project.
Doug: In some
Jason: ways, I think when we started Morning Breath, we, those two worlds, it was like things he were doing, things I were doing. . You know, I would also, when I was at Def Jam, would hire Doug for things and we would, I would figure out ways of getting jobs together that we could work on together, cuz we were so used to working with each other doing skateboards.
Jason: At that point, I had walked away from doing skateboarding. It was like a new chapter in my life doing music packaging and it was opening up all these new doors about print and about different ways of printing things. Prior to that, everything we did was silk screening. So here I am now doing in the music world, and it was all about C like hey, and spot varnishes and dye cuts and all those other fun.
Jason: That I was learning about that I didn’t really know about. Cause when I was at the skater company, we would never do stuff like that. At that point, skateboarding was at a more infant, you know, level of not spending a lot of money on things. And so when I had gotten to Def Jam by that point, it was so exciting to be around an environment where the budgets were unstoppable.
Jason: And at that point, music was booming and the money was there. And so there were a million dollar hype. William videos and music packaging had the biggest budgets. I told you the budgets I had during those years, your jaw would drop. . We still do music to this day and we don’t get anything like those budgets.
Jason: So that was an exciting time for me, and I think, again, going back to. That’s kind of what got morning but started was doing music packaging. I
Dustin: would say graphic design is the fifth element of hip hop. So the fact that, you know, you guys have a bunch of, you know, heavy hitters in in your portfolio, in your, in your bag is, is pretty sick.
Dan: Let’s go back real quick, um, for a second to think. So, you guys met at Think in sf, right? Yeah,
Doug: that was, I guess, mid nineties, nine. Jay was there working with Mike Giant about a year before, maybe a little over a year before I arrived. Uh, well, I’m known professionally as Mike Giant. Mike Giant in his own, I mean, obviously, you know, has done a ton of work and has much respect out there.
Doug: I was coming from an illustration background and didn’t that point know much about graphic design and obviously, you know, Jay was. Had his background and his foundation in graphic design. And I think the kind of sharing of information and collaborating in a way that was incorporating design and illustration was, you know, that was the beginning of kind of like, The morning breath seed before we had even got off and started morning breath.
Doug: At that point too, San Francisco was kinda opening up as kind of this like cross, you know, bi coastal cultural hub. A lot of people from New York were living in San Francisco at the time. A lot of kind of emerging artist. There was, um, you know, graffiti itself started taking this move into kind of a more serious place with people like, you know, Barry McGee.
Doug: You know, really starting to shine at that point. And a lot of people wanted to be in San Francisco and it was like there was this connection that was starting to happen with a lot of people that are now, you know, relatively famous artists that were all in the inner circle. Everybody was kind of hanging out and you know, had the spot on.
Doug: You know, Tuesday nights, Wednesday nights where all go out drinking and it. Definitely kind of a, you know, a creative exchange of, um, you know, information and everyone kind of talking about what was going on with, with, with music at that time and, and the art. And, you know, computer graphics was just kind of just kind of, you know, becoming a thing that people were taking an interest in and, and just kind of learning about the possibilities of what this new technology could
Jason: We weren’t the traditional like,
Dan: Side of
Jason: that graphic design, or we’re more like graphic artists, you know, and like drafting tables and equipment that goes into that and razor blades and inks and getting your hands dirty and creating things with your hands. So I think, and to this day we’re that way. So I think that we embrace that and.
Jason: It’s kind of who we are
Dan: as a whole. It’s around to see that you guys, you know, transitioned at one point and kind of could go, can go back and forth, which is super cool. Yeah, I mean even
Dustin: that, that hands-on approach that you guys have really gives you a big point of difference, especially as the future goes on with procreate and the iPad and all the shit.
Dustin: So, um, I love it.
Doug: Obviously there’s kind of, you know, always like this reoccurring kind of lo-fi quality in our work and I think that we’ve always been attracted to that kind of, you know, Printing techniques of the past or when things weren’t so perfect. And I think that that pretty much, you know, has informed our work over the years and has made us kind of, like you said, you know, kind of accept the imperfections, but not just accept them, but just kind, you know, actually like them.
Doug: Like the aesthetic aesthetic of them.
Dustin: If you guys had to say vector or raster between the two, is there one or the other that you guys would lean towards?
Doug: Yeah, we naturally lean towards, you know, rasterized images. A lot of our. You know, starts with scanned images, whether it’s, you know, found imagery or illustrations and, you know, completed in Photoshop.
Doug: But, you know, vector has its place too. I mean, it’s, they’re two different, you know, two different approaches and. , some are more appropriate for, you know, different
Dan: applications. So I think what always drew me to you guys so much is, is the work. And you know that it is done so raw and everything, but also the fact that you guys, you know, Jason, you’re Des, you’re the designer, Doug, you’re the illustrator, and that you guys work together to make basically these designs, this artwork, whatever that end product is like.
Dan: The best projects that come out of the studio are ones. One of our illustrator started working on, did the illustration part. It’s handed over to the designer to basically take that to final add the type and, you know, whatever it is, whether it’s a skateboard deck or a poster or whatever, you know, some of the best stuff that comes outta the studio or, or when an illustrator and and a designer get
Jason: It’s kind of like, I don’t know. Always compare it to being in a band where there’s a drummer, singer, guitarist. Like it becomes a song. and that’s kind of where we are at. And you know, because we’ve been working with each other for so long,
Doug: we don’t view everything we do as, as so precious. It’s kind of, it’s done, it’s on to the next.
Doug: It’s kind of, we’re not so worried about any one project, cuz we know that in the course of a year over several years, how many more projects we’re gonna create. And there’s just, there’s gonna be enough room between all of it. , any of our tastes to kind of be, you know, fulfilled with
Dustin: that. Don’t lock in too, too crazy onto to one thing and yeah, let go a little bit.
Dustin: And, um, I feel like a lot of people listening to this will probably get something outta that, that part
Dan: specifically. Yeah. Like you said, there’s always gonna be another project. Yeah. You know, at some point you gotta call it done and move on.
Jason: Just keep it moving, you know what I mean? It’s kind of like, just move
Dan: on here on the this, uh, I wanna talk a little bit about your guys’ books.
Dan: I love your books and this. , the early B bird one. Like I got this thing back in, I mean, way back, whatever, 2006, 2007. Um, this was kind of a big inspiration for me. Um, Coming outta DC and kind of doing my own studio and stuff. Uh, this thing was amazing. The format alone is, yeah, just so the, uh, kind of ch children’s book kind of size and format and perfect bound like this, thing’s always been like top of my book.
Dan: Bookshelf and then to see you guys come out with, um, this was what, two years ago now? Probably two or three. Um, the, your big book, you know, which is amazing. Um, how did that all come about? Like how, how much did you guys have to do in any of the layout? Was that a painting in the ass? Like, we make our own, you know, kind of in-house books here.
Dan: Um, and I know what goes into laying out a book in the, that whole process. Um, how was that for making that whole, that book and going back collecting all the old shit and it’s always a chore? We did not
Jason: design the big book, we
Doug: designed the small book. Yeah, no, we had maybe gave a few, you know, samples of the, the aesthetic we’re going for.
Doug: And it’s funny, you know, like when you work with certain publishers and their designers, sometimes you get the sense that people wanna really over design, they wanna put textures on every page, and they wanna ghost some of your images in the background and. Don’t want any of that. We just wanted a very clean, simple presentation of our work and just let the, the work kind of, you know, sit isolated alone without any of the, uh, extra bells and whistles.
Doug: What I
Dan: love about is it shows that whole breath of work, you know, from the, from the analog work to the music work and the album covers and everything, um, you get the whole sense of what you guys have done, um, which is rad, the
Doug: first chapter of that book. You know, we kind of focused on the music part of Morning Breath, which was interesting cuz when we started Morning Breath, it was, you know, as a business, I mean that was the bread and butter.
Doug: We weren’t at that moment doing much personal work. We weren’t silk screening as much, we weren’t painting for ourselves. We were just kind of focused on the day-to-day, you know, project of these commercial 95% music projects. What that did is, well, it did a couple things. I mean, it was financially, it was great.
Doug: So it afforded us, you know, the, the, the ability to have, you know, a huge studio in New York and to kind of, you know, have, you know, the financial freedom of being able to do what we want. But we still weren’t quite, you know, there with that yet. And I think couple years into it, I think. Started to focus more on our own personal work and kind of still doing music and still making money that way, but also using our spare time.
Doug: And definitely maybe not even spare time. Cause I remember nights of working well into like, you know, working a full day and then working till two in the morning on paintings just to get things done that we wanted to do. And that’s really, I mean, Making the move into kind of venturing more into our personal work is really what kind of set off our, a commercial life ourselves.
Doug: That started incorporating our own aesthetic. Because prior to that, I mean, like I’m saying like, you know, with the first chapter, you look at it and it’s all dictated by, you know, by the label or by the bands, and it was all personal to the music, not personal to. . And I think that by doing our own work and showing our own work, it’s instead of getting us more, you know, kind of fine art opportunities, it actually expanded our commercial opportunities.
Doug: Yeah. To let us do what we want to
Jason: do. And then also I think, We have always said that like, show what you want to get. And we started learning that more and more. Like whatever we show is we get more of.
Dan: Yeah, that’s cool. And then you guys are being hired to do your style for larger companies and Yeah, I
Jason: think it, it started kind of, it, you know, fulfilling us and so we started doing maybe less paintings at that point cause we were doing more commercial work that started becoming more fine art to us.
Jason: And then we were also, at that point there was a wave where we were getting like artist series where we’re putting our name on stuff. Like we have our putting our name on Coke bottles. Like now you’re like doing things where now your name is a part of the product itself. And so that became a wave of stuff we were doing, which was interesting as well.
Dan: Yeah, it’s almost like the ultimate, you know, when you, when you are getting a product that is, you know, the morning breath, you know, Coke bottle or whatever it is. Yeah. It’s rad.
Dustin: Yeah. That’s definitely the end goal, I’d say for pretty much every one of us in the field. Yeah.
Dan: So hell yeah. You know, it’s sad, like you kind of talk about the music industry and then the skateboard industry, I’d say as well.
Dan: Um, two, you know, industries that I think a lot of designers, you know, like would love to work in and kind of strive to work in these industries in And over the last, you know, 15, 20 years, like you said, the budgets are just gone. You know, for the music industry, the skateboard industry is ridiculous. Um, it’s almost tough to make a living.
Dan: Working in either of those industries anymore as a designer, things
Doug: have shifted. It’s, it’s funny cuz, I mean, to to age ourselves a little bit, we’re, you know, currently busy with a lot of music projects again, but many of them are, you know, 20 anniversaries of projects we did. Yeah, we did
Jason: 20 years ago.
Jason: Yeah. Like, and, and the funny thing is the people that are involved in it, they, they don’t realize that sometimes they don’t realize that we’re the ones who did it, but big part of it. , they ask us more about the project than they know because they’re new to the band. And we’re like, uh, what was it like back then?
Jason: Like, it’s kind of funny. So,
Dan: yeah. So what, uh, what, I know you probably probably can’t talk about a lot of what, you know, projects are on your plate and this and that, but what do you have coming up or where you guys headed in 2023?
Doug: Been interesting for us and even the name of the book being By The Skin of Our Teeth.
Doug: I mean, sometimes it feels that way. It’s like you. Just when you feel like things have slowed down and you’re not, you know, getting the, you know, the calls and, and the work that you need, things start, you know, the flood comes in and you get busy again. And I think that year after year, we’ve been fortunate for sure to, to have the work come in without very much, I mean, effort on our part to get the work other than continuing to produce work.
Doug: I mean, I think that our work itself gets us work. . We don’t do any sales. We don’t call anybody. We’ve tried a few times and it’s just that avenue’s never really worked for
Jason: us. We have no support financially. We have no, like, we don’t have a, we have a, we have nothing. It’s like we’re just two dudes like trying to figure it, you know, get it working and we’ve been very fortunate.
Doug: know, that being said, I, I think that, you know, this end of the last year has, you know, kind of been good to us in the sense. Secured a lot of work for us for the upcoming months. So I mean, it, it feels good going into a new year knowing that we have a lot of projects, things that’ll get us, you know, through most of the year.
Doug: And having that secured right in January is like, Something that definitely kind of eases any, uh, stress that comes from, you know, being independent contractor with this kind of work.
Jason: Yeah. You know, new stuff. I mean, we, we got, we’ve been doing more animation, not us physically, but we’ve been doing the key art for some animation that we’ve been working on with, uh, beer company.
Jason: Um, we have about four or five music packages kind of crazy enough that have come into our hands that are big, actually big names. You know, we a lot of gig posters. Yeah, some gig
Doug: posters. Were doing a lot of, um, it’s kind of internal asset branding for, uh, unnamed shoe
Dan: shoe company, in the design industry.
Dan: It’s like, you know, . Basically, you need to set yourself up for the future. You need to do good work, work with good people, be good to those people, and it’ll all come back around. They’ll hire, hire you again. They’re gonna leave whatever it is Nike and go somewhere else and then give you a call in three years, you know?
Dan: Yeah. I mean, we always say that
Jason: a lot of our acceptance based on our community, and we’ve been very fortunate that a lot of great people have been around us that have gone out to do a lot of great things and. And these are friendships we had prior to their developments and like ourselves, we came from a certain core of a crew and they kind of went out and did a bunch of things.
Jason: But I mean, through the years I can connect dots to, like you said, like we were doing stuff for Stusy. That dude went to Nike, we started doing stuff for Nike. That guy went on to, it just kind of goes and. the same way we’re growing. Other people around us are growing, and we’ve always been kind of had the connections, whether it’s a, this guy was art director, a woman was an art director at a record label, and they’re now with this record label, and so their Rolodex goes with them.
Jason: And so we’ve, we’ve gone through years in that way as well with that type of, you know, community. .
Doug: He just said Rolodex, , .
Dan: You guys probably got a Rolodex there, right? Yeah. . Yeah. I got a phone book. Yeah. .
Dustin: I just got a phone book at my house last night and I was like, you know, show my wife. What the hell is this?
Dustin: Yeah, .
Dan: That’s, that’s great. Um, I saw something new from you guys. Morning Breath Club. What, uh, what’s going on with that? Uh, I guess,
Doug: you know, that’s just really. Us kind of, you know, at a very grassroots level, putting together a little merchandise program for ourselves. You know, I think that we always wanted to do something like that, but at the same time, it’s like, wanna be clear that we’re not trying to be a streetwear company or compete on, you know, in the trade shows or, or, or any of that sort of thing.
Doug: We just wanna put out things that we personally like and would even wear ourselves and just make that available and, you know, Talking about it yesterday with you about the idea of like, you know, you, you get outta something, what you put into, and we’re hoping that it, over the years we could kind of, you know, baby steps into growing that and kind of, uh, you know, not just growing the line more, but, but diversifying on what exact products we have getting away from it just being, you know, the basics, apparel, t-shirts, hats, and get and prints, and getting into things that are a little more, you know, custom made.
Doug: you know, just, you know, design objects and things that we personally would just like to have ourselves and make it available for others.
Dan: I mean, you guys make tees and hats. I’ll buy ’em, so, oh yeah, . I was just
Dustin: gonna say, yeah, let me know when those tees are live and, you know, yeah. Industry’s doing a lot of the printing, it sounds like, and I mean, everything they touch is, is quality.
Doug: yeah, I mean, we, we definitely, you know, have a good relationship with Tony over at industry, and this is kind of, you know, it’s somewhat of a, a joint venture. We’re not just having them do it, we’re partnering with. so that they can also, you know, kind of take, take some charge and be a part of this with.
Dan: Well, cool fellas. We’re stoked to sit down and, and chat with you guys. I might, uh, I’m gonna try and pop into your area here in the next couple weeks. I’m gonna be in, in New York, so I wanna come by and say hi.
Doug: Definitely. If you could make the time, man, I would love to hang
Dan: out and catch up. I’d love to, love to see the studio.
Dan: The only other thing
Jason: we need talk, but we, we want a Grammy. Oh, whoa. Have you ever seen the video of us?
Dan: No. No. We gotta pop that up. We want a
Jason: fucking Grammy. Hell yeah. Um, best Music Pack Design of the year.
Dan: For, uh, for what, what package?
Jason: Um, for Desert Sessions, which is a, uh, um, it’s a queens of donate side project where he goes down in the desert and makes a record.
Jason: And, uh, we totally didn’t expect it. If you googled the video, you’ll see we did not expect it. . And it’s . Yeah. Will We were like, literally, we covid, so we got, we went, we got nominated once before we went to the Grammys and we lost, and then we went another time. It’s not in the book. And then we went another.
Jason: No, we got nominated again and we just think we were gonna win. We was like, oh, it’s a scam. No one wins kind of thing. And then we won and we literally were, we were like in a studio, cause we was doing covid and it’s like in a video. And we’re just like drinking beers and we’re like, all of a sudden you’re on tv.
Jason: We’re like, oh shit. . Yeah. I’m
Doug: sure Fucking beers. You could YouTube, I guess our names and Gram and well,
Dan: yeah, we’ll have, we’ll have, we’ll, uh, find that video and pop it up there. So they, so they basically cut to you guys at the studio and we’re like, Hey, you won. Yeah. Oh shit. Yeah.
Doug: And the Grammy ghost too.
Doug: Doug Cunningham and Jason Notto for Balls 11. And. Everybody else had the perfect environment, the perfect lighting. They were wearing suits. They were
Jason: just like, yeah. Their gold records. And we just came, we just came
Doug: to the studio like, it’s another
Jason: day. . Yeah. They’re like this, like having, we had beers, we were just drinking beers.
Jason: And then they said our name and I, I literally was like, oh shit. Like, fucking
Doug: walk. Thanks Academy. Jay, you wanna hit up?
Jason: Um, yeah. Thank you. Uh, the academy. Thank you. Kristen Welsh from Sam. Thank you. Uh, Josh Hammi from Queens and, uh, all the
Doug: design people and. Folks at Matador Records and uh, yeah, we’re super excited.
Doug: It was awesome. Thank you. That’s
Dustin: huge. That’s massive. I mean, there’s a bunch of other design awards, but yeah, I’m pretty sure you gotta pay to submit pay to get the award award, you know, it’s good scheme on their end. But yeah, the fact that you guys got a Grammy is is fucking
Dan: Cool. Well we won’t take up any more of you guys’ time.
Dan: I’m glad we got to, uh, reconnect again. We’ll have to, uh, to get together for sure. Hang out in person. Definitely. Thank you guys.
Doug: Thank us on man. Looking forward to.
Dan: Absolutely. We’re gonna continue to follow you guys and, uh, and watch morning breath and everything, so
Dustin: yeah. I mean, yeah, you guys are legends.
Dustin: Been a big fan for a long time, so yeah. To to chat again is, is huge.
Dan: Thank you. All right fellas. Have a good day. All right, so that was cool. Yeah. Hey, uh, they wrapped it up with their, uh, Hey, we want a Grammy. Yeah. I’m like, oh shit. Big flex. Okay. Yeah. So let’s hear about this. Yeah. Yeah. That’s crazy. Like I told ’em a well deserved on on that.
Dustin: cool. Yeah. They need to have that thing on blast, you know what I mean? Like, or build a replica and make that thing massive or do something cool in the studio. Yep. But yeah, they always say, you know, it’s like, be careful meeting your, you know, your heroes and stuff like that. And these guys do not fall in that bucket, you know?
Dustin: Yeah. Super cool. Super easy to talk to. Almost feel like a peer at that point. To me. You know? It’s like just hanging out with one of the homies. Yeah. Just cool dudes all
Dan: around. Yeah. All right, so I think we have some, uh, comments from the last episode. So let’s, uh, let’s see where those are. Hell yeah. Chris
Doug: Johnson writes, this project is mind-blowing to me as someone who is more on the type and traditional side of branding.
Doug: Seeing the scope of it shows how much work went into it all.
Dan: Love it. There was a lot of pieces to that project. Um, and there’s a
Dustin: lot of projects that are that way that you don’t realize there, you know, there might be the borders patterns in blah, blah, blah that maybe were only kind of marketing the, the main assets.
Dustin: But yeah, it’s pretty common to have tons of pieces in even that Tony Hawk capsule, uh, or that, that style guy, there was even more pieces that didn’t ended up get show getting.
Dan: Yeah, there was that whole apparel guide that you did, you know, and there was like an adult one and, and kind of younger. Um, so yeah, there, there are a lot of projects with a lot of pieces, whether it’s branding, illustration, packaging, you know, kind of the whole deal.
Dan: So, um, and those are the projects that are fun. We talked about with these guys, like when you can get an illustrator and designer together to work on a project, that’s where the magic happens, you know?
Dustin: Yeah. It’s really just like this yingying effect, you know what I mean? And it kind of combines and goes to one.
Dustin: I mean, unless you’re a superhero, you know, you typically, if you’re good at illustration, maybe whatever else is lacking and vice versa. So if you can just use the best of. It’s gonna make the, the better piece in the end and their, uh, you know, proof of that. Yeah.
Doug: Jesse Taylor writes, where those Lincoln
Dustin: Fingerboards at?
Dustin: Shout out Jesse Taylor made us some fucking dope. Fingerboards. What’s up Jesse? Thanks for
Doug: the packages. Sick. Woo. This is the
Dustin: Van’s keyboard. Oh.
Jason: shit. Poor dang . Holy shit. Skateboard with my.
Doug: Oh my goodness. Damn. Bring that
Dan: camera down.
Dustin: That is, that is sick. Bring that camera.
Dan: Hell. You got every Yep. Own pro model.
Dan: Okay. Sick. That’s dope. Hell yeah. Thank you, Jesse.
Dustin: Thank you. This is something personally I would like to try to figure out how to get into production. How do we get 40 boards made that we could sell to, you know, the community? . Yeah. We need to get some Lincoln Fingerboards made up. Totally. We’re gonna give j uh, Jesse all the, the credit.
Dustin: That was his idea. Yeah. Um. Yeah, he’s got some fun ideas
Dan: out there. He does. Yep. Yeah, it’s uh, we’ll try and make that happen at
Dustin: some point. Yeah. I found on Etsy they have some molds. We can buy some, some, some supplies and some molds and press our own boards, but it’s gonna be
Dan: some work. That’s a lot of work.
Dan: Yeah. , Firo
Doug: man writes that is one of the best feelings seeing your design out in
Dan: the world. It is. When you finally see the final product out in the world, it’s
Dustin: always so far removed from when you created it. Typically, it’s like a year. Two or three down the line. So if anything, you know, it’s all, it’s definitely the coolest, but it’s almost a shock of like, oh, it made it, cuz there’s a lot of times we make so many things that don’t make it out into the world.
Dustin: And, and even, you know, it, it, it was chosen, it, you, you think it’s coming out but you don’t ever see it,
Dan: so Yeah. You can’t find it or whatever. Um, or you know, like with doing style guides and things like that, some of that stuff. A lot of it gets used, but it’s used in different places by different companies, so could be in different
Dustin: regions of the world.
Dustin: Mm-hmm. , you know what I mean? That we we’re not there. So yeah. To, to see it. It’s super cool. Um, definitely anytime we go to, you know, the grocery store, target, Walmart, gotta go down all the aisles to just check it out and see, you know, did we get lucky? Did something else come out that we’re not aware of?
Dustin: And typically Dan will then go and buy, you know, a good amount of whatever those things are. Mark, be right.
Doug: When do we get tutorials? Either free or
Dan: paid? 2023. We’re working on it. Yeah. We have some, some stuff in the works, so, um, there’ll be some of that educational.
Dustin: Totally. Yeah. If there’s a new tutorial specifically that you guys would like to see, pop it in the comments.
Dustin: Yeah, please do. Maybe you want to see how to make a, you know, weird brush and illustrator. Maybe you want to know how to change the shape dynamics of a brush and Photoshop, or who knows what, but let us know if there’s anything.
Dan: Yeah, we’re open to ideas, but there’s some stuff in the works. We’re working on it.
Dan: All right, so that’s a wrap on morning breath.
Dustin: Fun times. Dude, we gotta, we gotta get the, the legends in here. You know, we do. I’m gonna put it out in the universe. We, we need that whole, you know, alumni, we need freaking Benny Gold. Yeah, we need Bobby hundreds. Where you at? We need you Jeff Staple. Yeah. You know, maybe some Dave Cho
Dustin: David Cho. Oh, you know, I’m trying to get the whole upper playground of alumni. Here. So
Dan: that would be amazing. Yeah, we got the, the big old upper playground. Uh, yeah, the book here. Uh,
Dustin: love that shit. That was my era, so, yeah.
Dan: Nah, that’d be cool. Hell yeah. But yeah. Thank you guys for tuning in. Um, we got Skateboard Mayhem book is out on the website, so, uh, grab that.
Dan: Check it out. All the skateboard graphics we’ve done, or, or a portion of them over the last almost 20 years, so hell.
Dustin: Links in the, in the description. Yep. And yeah. Shit. Until
Dan: next time. Yeah. Click that like and Bell subscribe and all the deal. Do the clicking. Yeah. See ya.