Hodgepodge 杂七杂八
第（5）期
As we traipse around the summer’s degree shows on the hunt for the hottest, brightest, tastiest new talent, some projects just leap out and slap us about the head with their all-round neatness. Like this: a little bit of tech-trickery that turns an ordinary wall into, you guessed it, a piano.
The Wall Piano is the work of Hon Lam Li (Patrick to his friends), who has just graduated from the London College of Communications’ Interactive Design BA. Watch a video of it in action here
We got in touch with Patrick to find out more:
CR: How does the Wall Piano work exactly?
P: There are two microphones attached on the wall surface. Those microphones are acting like human ears for the computer. Therefore, the computer is able to hear people who tap/bang on the wall. The program that I made could translate those hits into piano keys.
It all depends on how hard you hit the wall. The lower key will be produced when you hit it harder; and the higher key will be produced when you hit it softer. Just like every other modern piano, it has 88 keys.
CR: What inspired you to do it?
P: The original concept was partly from my childhood. I didn’t have many toys to play with when I was little. Both my parents were working all day long. I stayed at home with my grandparents all the time watching telly. There was a blank wall beside the TV set. I always wanted to know how to play the piano and I liked to pretend to play when there was piano music on the telly. Man… I was weird.
I was thinking that it could be much more fun to play piano on the wall and dance on the floor at the same time. That’s how I got my first concept for my Wall Piano. About 15 years later, I realized I had the skills to make it become possible.
CR: What are your plans now? What do you hope to be doing in the future?
P: I am looking for job in London right now. I hope I can do more sound and visual projects, maybe working on installations for galleries or museums.
My friend and I have created a freelance company called Sounds Butter. We would like to collaborate with different artists or designers but we are still at the beginning. The web site is not done yet, but you can still check out our Catalog page here
Lisa erzählt uns was über ihre prämierte Arbeit "Type the Sky":
"Angefangen hat es mit dem „Q“.
Ich war in einer Art Innenhof in Barcelona, guckte nach oben und sah Häuser, den blauen Himmel und Wolken. Beim längeren hingucken formte sich der von den Häusern eingeschlossene Raum zu einem „Q“. Das Bild von Straßenschluchten, die dem Himmel im Zwischenraum eine Form geben, fand ich so schön und spannend, dass ich anfing, auf Buchstabensuche zugehen. Wenn mir ein „Q“ begegnet, können doch auch die anderen Buchstaben nicht so schwer zu finden sein. Und suchte ich mir so—wochenlang nur nach oben schauend– Stück für Stück alle Buchstaben des Alphabets zusammen.
Majuskeln und Minuskeln hab ich gemischt um es nicht noch schwerer zu machen. Zugegeben etwas Photoshop war auch dabei. Wobei die absurdesten Buchstaben gar nicht zusammengebaut sind, wie das Q und das K.
Mit den Fotos hab ich versucht, eine Form der Präsentation zu finden, die sich von außen nach innen aufbaut. Der Schuber zeigt ein großes “X“, welches wie ein gr0ßes Kreuz einen Punkt im Himmel, —und oder auch im Innern des Schubers markiert. Auf dem Cover ist dann der bewölkten Himmel ohne begrenzende Mauern und auf der Rückseite ein großes „!“ zu sehen. Diese Bilder wirken aber aus dem Zusammenhang genommen abstrakt.
Im Inneren des Booklets wird es dann konkreter und man sieht eine Übersicht des Alphabets auf der linken Seite. Die Buchstaben, die alleine vielleicht noch zusammenhanglos wirken, werden im Ganzen betrachtet sofort logisch. Auf der rechten Seite des Booklets findet man eine Tasche, in der ein zusammengefaltetes Poster steckt. Beim Auseinanderfalten gruppieren sich die Buchstaben dann langsam zu Worten. Look, you, will... Und letztendlich ergeben sie eine Frage: „Will you look at me?“. In dem der Betrachter den letzten Teil des Posters auffaltet, beantwortet er sogleich die Frage des Posters. „Will you look at me? Yeah!“
Das Projekt ist eine freie Semesterarbeit im Fach Typographie an der Universität Duisburg-Essen."
Advertising Agency: Zoo Advertising, Shanghai, China
Creative Director:Alex Sean
Art Director:Stephen Zou
Copywriter:Sandy Sang
Photographer:Taurus
Published: June 2007
Transformers’ Toy Design
The "Classic Mirage" prototype in dramatic action pose! Designed by Alex Kubalsky. Photo by Motoki Takaya ©
TOMY /
Hasbro
This is gonna be all about Autobots and Decepticons! With the Transformers movie coming out July 3rd, 2007 - damn, in Japan we have to wait until August 4th! - the long ongoing Transformers franchise is still in full mode, including comic books, TV series, a toy line and now also a game, of course. But the toys! Who makes these miraculously transforming toys that change between two or more shapes?
PingMag got hold of Australian Alex Kubalsky of Takaratomy in Tokyo, who not only happens to be the sole foreign toy designer in Japan - he also designed all the transformations for Transformer’s Bumblebee, Mirage and more cute fan gear!
Written by Verena
This is how it all started: The transformation stages of the “squid woman”, a toy made after a dream Alex had when he was a kid. Drawing made in 2000. © Alexander Kubalsky
You are a toy designer in Japan! How did it all begin?
I was really into stop-frame animation in high school in Melbourne doing super-8 animations with LEGO. I loved stop motion and I couldn’t draw that well, so I just built the complicated stuff in LEGO. After school, I did a one-year film course and used to draw strips of cartoons.
Alex Kubalsky with his “Ambu”: a humanoid robot that transformes into a butterfly and a bird, as seen above. Amazing! © Alexander Kubalsky
But you didn’t continue…?
I was always frustrated that I couldn’t draw as well as the Japanese Manga guys, and I just wanted to challenge myself. I had one solid idea for a science fiction story that I wanted to implement either as film or as drawn animation. Only, I just couldn’t draw the robots and the robotic machinery for that.
“Ambu” as transformed into a butterfly. Made in 2002. © Alexander Kubalsky
Close-up of “Ambu.” © Alexander KubalskyYou told me before that you got into design first?
Yes I tried to get into industrial design but didn’t: I got top marks for the portfolio and the interview - but there was this drawing test. In the end, I just ran out of time and I failed miserably. But you know that a lot of the working designers drop out and don’t finish anyway…
Alex’ original drawings of the Transformer’s “Classic Mirage” robot including its parts. ©
TOMY /
Hasbro
Alex’ “Classic Mirage” in three-quarter view. © TOMY / HasbroRegarding Transformers as influence, I bet you saw the TV series as a kid?
Indeed, that may have been a bigger inspiration being a kid of eleven or twelve years: Transformers was one of several transforming animation series during the 80s. Michael Jackson’s Moonwalker had stop motion of a dancing robot and computer animation of a transforming car. Also, I had like six or seven of the Transformers toys and was collecting them at flea markets while in high school. That was back when Japanese toys were seen as cheap knockoffs.
Alex’ transformation of the “Classic Mirage” prototype, part 1 © TOMY / Hasbro
“Classic Mirage” prototype transformation, stage 2 © TOMY / Hasbro
“Classic Mirage’s” transformation, nearly finished © TOMY / Hasbro.
So, how did you get into the actual transforming then?
When I was twenty-two, I went backpacking around Europe with my girlfriend. As I had never been away as long as six months without drawing anything or doing stop motion animation, I got more and more restless to get back into something. So, while I was travelling, I started having these visions of the “squid women,” that’s what I called it: a submarine that transforms into a lady in a dress and flys through space. Actually, she was based on two incidents from my childhood.
The “Classic Mirage” prototype in posed action. Photo by Motoki Takaya ©
TOMY /
HasbroFrom your childhood?
Yes, one was Mary Poppins, because on a school trip at the age of seven I went to see the movie at the theatre. When she flew across the screen with her umbrella - that really spooked me!
You got into transforming because of Mary Poppins! What was the other incident?
The other incident was an amazing dream I had when I was a kid, which I wrote down: It was in the middle of the day when a train was stopped between two stations and people were running from it. All the doors were open, so I got on and could see this woman in a purple dress floating her way towards me. It was Mary Poppins! Then I dived into a black swamp and she dived in after me. It felt like there was some sort of squid in the water. Then I woke up, but I didn’t actually as I was stuck in Kanashibari - when your mind is awake but your body is still asleep. So, I couldn’t see anything and felt this hot breathing on my left cheek like somebody was hovering over me. First I thought there was something else in the room until I woke up…
A sleek “Classic Mirage” prototype, more gliding than walking. Photo by Motoki Takaya ©
TOMY /
HasbroAgain, you had this “squid women” vision, and afterwards you made a toy out of it?
The “Mirage” in its actual plastic toy appearance. “I wanted to look him like a 70’s dude in bell-bottoms,” Alex explains.Basically, when I was backpacking I kept having this vision of a squid-like submarine change into this woman. So I went back to Melbourne and built that toy and several others with vacform sculpting - then took them to Japan.
That got you the job as toy designer in Japan?
I came to Japan on a working holiday visa and said ‘I’m going to be a toy designer!’ I couldn’t find work with a toy company. Although they liked my ideas, language was a big issue. The first time I stayed for three months short of three years, saved $20,000 from teaching English part-time and being an extra in TV commercials and kept drawing all the time. Then, I returned to Melbourne for fourteen months. There, it took me a year to build a new toy with 174 pieces: “AMBU,” for “audio man butterfly unit.” It is a black dude in a white jumpsuit that transforms into a bird and then in a butterfly; when he transforms it looks like he is break dancing. I wouldn’t leave the room until it was finished. When I went out, I used to carry it around with me all the time because I was paranoid about leaving it. Then, I took it to Medicom who make the Kubrick toys.
Alex’ original blueprint of the “Bumblebee Camaro” on milimetre paper, all of the 74 parts included ©
TOMY /
HasbroAnd they hired you because of “Ambu”?
No. They thought it was nuts! They did collaborations with known artists from New York, so they surely weren’t going to spend $100,000 for a 174-piece model by an unknown artist. A few months later, I approached Takaratomy: I called them up on Boxing Day, and a week later I showed them my stuff. However, they said it was art and not toys.
Transformed “Classic Bumblebee” protoype, done by Alex ©
TOMY /
Hasbro.Oh no! What did you do then?
Well, we kept in touch. After a year nothing came of it, I was just about to leave Japan to start stop animation in England. Suddenly in 2005, Takaratomy told me to come in and talk. But I didn’t have anything to show him and only four days left! So, I made a little Transformers emblem that transformed into a lion and worked around the clock to present it. But then they just said ‘You didn’t have to make that.’ Based on my more humanoid designs, they wanted me to develop a new line of toys…
More views of the “Classic Bumblebee” prototype ©
TOMY /
Hasbro.Transformers! Once again, the toy line is a collaboration between the Japanese manufacturer Takaratomy and its American equivalent Hasbro. As you mentioned before, your work process would usually be: Hasbro comes up with a concept for a toy and you are the designer that builds it. I guess that is quite complicated…
Basically, I’m an inventor and a character designer and my input is bringing everything into 3D reality and adding cool character dimensions like feature weapons and funny things to it: I do the part lists, draw the blueprints and then draw a 10 or 12 frame short animation to show how the toy would transform. I do this based off Hasbro concepts as well as my own characters and concepts that are okayed by Hasbro. They are a great team to work with.
Look closer - the protoype’s smiling face! ©
TOMY /
Hasbro.And you did all of the Bumblebee transformations?
From the first day I started at Takaratomy I have always done Bumblebee.
Even in the movie trailer he is the main guy…
Two years ago,my first toy was a new interpretation of it: like a Citroen 206 with about 40 parts which took me about a month. Originally as it was a small car, it was going to need something extra. So I designed a jet pack for it. Not many people realize my design motif, but its supposed to look like it has got big sneakers and a hoodie on and pockets…
… and a smiling face!
That was the other point, when I was handing the model maker the blueprints, I asked him to put a smile on its face. As far as I know, this is the first Transformer with a smile!
The MP3 player transformation as part of the “Transformers” movie merchandise now on the shelves, developed by Alex.
The MP3 player is growing wings…
… and transforms into…
… a bird creature! All done by Alex Kubalsky.What did you transform apart from Bumblebee?
For the Transformer movie, the characters have been already set by Dreamworks so we were doing just the transformations and a lot of the movie-related stuff. Also, there is a toy series for kids of real products like MP3 players that turn into robot creatures and run around; we expanded on that.
[pictured above]
What else?
I did Classic Mirage. A toy with 19 points of articulation. But right now I am designing toys that won’t come out before the end of 2007 or in 2008: a game controller that transforms into something. Apart from that, I am not allowed to tell you more about my other projects…
Close-up of the MP3 player prototype by Alex. © TOMY / Hasbro.
A close-up of the prototype’s equalisers transformed into a wing. © TOMY / Hasbro.
How do you usually start with the creation process?
I put on my headphones, listen to music and close my eyes - and most of the stuff is in my head. When I was a kid I spent hours and hours with LEGO. I would go to bed and still be thinking of LEGO in my head.
Really? No 3D software involved?
No, I draw everything on millimetre paper, including every part. It is all in my head!
Amazing! Again, the transforming process is about changing in two or into three different shapes. Please explain a bit about the whole thing…
Apart from Origami, of course, i think the concept came from Japan in the 70s from Yusha Raideen, an animated TV series of a bird that turns into a robot, controlled by a guy. There are toys that change into six stages, the more objects there are the more abstract it gets. However, there have been very few triple-change toys that look good in all three modes.
No sketch by Alex, but from “Transformers” the movie: Optimus Prime in action! © Paramount Pictures / HasbroThe transformation itself is the art form?
As we are trying to do more characteristic characters that don’t just go beating people up, we want to create unique individualistic characters that have expressive transformations! For example, if the character is a villain, it would be good if he revealed his face like opening an evil cloak. If he is a hero he would come out punching.
What would you like to design that hasn’t been designed yet?
Just an odd object that transforms into another odd object for no reason. Just so because it looks interesting as it transforms. It is not so much about what it is in a and b - but the path itself is c. The transformation itself is the interesting thing!
Sounds very Buddhist, as in The Path is the Goal! Awesome, a whole new form of art - the way a toy transforms cleverly and utmost elegant. Thank you, Alex Kubalsky from Takaratomy!
“Autobot Jazz”, from “Transformers” the movie, out July 3rd. © Paramount Pictures / Hasbro
Poor Lamp- 07.04.07
The Poor Light is a brilliant project by Poor.nl - which is “a module - pictogram accompanying the design, appears in various situations, emphasizing the places where the light, though present, is not encased within the frames of the object used to lighten the given area.” The result is a set of options ranging from the Lamp ScreenSaver, Lamp made of glow in the dark stars, and black cloth cut outs… (via Moco Loco)
·
·
·
·
Cliente: Pontificia Università Lateranense, Rector S.E. Mons. Rino Fisichella
Proyecto: Ampliación de la Biblioteca Pio IX y restauración del Aula Magna Benedetto XVI
Inicio proyecto: 2003
Inicio obras: septiembre 2004
Término obras: octubre 2006
Costo Obras: Euro 7m
Costo Interiores: Euro 1m
Superficie Aula Magna: 660 m2
Superficie Biblioteca: 2000 m2
Proyecto y dirección artística: Riccardo Roselli, King Roselli Architetti http://www.kingroselli.com/
Jefe de proyecto: Andrea Ricci
Colaboradores: Giandomenico Florio, Ulich Grosse, Christina Hoffmann, Arianna Nobile, Enrica Testi, Katia Scarioni, Toyohiko Yamaguchi.
Fotografías: Santi Caleca (SC), José King (JK), King Roselli Architetti (KR)
Para el proyecto de la nueva Biblioteca de la Pontificia Universidad Lateranense, el Rector Monseñor Rino Fisichella había expresado claramente su intención: Hacer de la lectura y la consultación de textos el tema central de la Universidad.
La universidad conserva una notable colección de cerca de 600 mil libros, algunos de los cuales pertenecen al siglo XVI, la mayor parte textos de filosofía, teología, derecho canónico y principalmente cursos académicos. Muchos son archivados en estancias subterráneas, recientemente reestructuradas y equipadas con sistemas contra incendio, controles de humedad y temperatura. 25 mil textos antiguos son custodiados en un ambiente protegido, con el fin de preservar el estado de conservación.
Originalmente la Sala de Lectura de la Biblioteca se ubicada en el primer piso en el espacio que ahora acoge el foyer del Aula Magna y oficinas.
La nueva sala de lectura y el archivo de libros de consulta libre están ahora dispuestos en el nuevo edificio, mas cerca del corazón de la Universidad y mayormente accesible al corredor principal del primer piso. Las sala sde lectura en un principio diseminadas en diversos puntos de la Universidad, están ahora concentradas en un único volumen, en el cual son archivados 70.000 volúmenes y 750 publicaciones, dispuestos en una torre de seis pisos, compartimentada y protegida del fuego.
El emplazamiento del edificio hace referencia a una exigencia del Rector, cual es la centralidad de la actividad de la biblioteca, archivo y salas de lectura. Externamente, el nuevo volumen está dispuesto junto a un bloque de aulas pre-existentes. Si bien el nuevo edificio es discreto en su alineamiento con el edificio existente, reflejado en el uso del mismo ladrillo en fachada, la nueva Biblioteca reafirma enérgicamente su modernidad de volumen suspendido, en el contraste de la luz y sombra generado en los cortes de llenos y vacios.
Dos, los efectos inmediatos: A la derecha. El ala del Aula Magna declara/manifiesta con mayor evidencia su importancia y diferencia respecto de las Salas de Lectura. El revestimiento de la fachada en travertino, la mayor altura, el volumen interno, distinguiéndose, adquiere importancia. A la izquierda de la Biblioteca, el ingreso de la Universidad, restaurado hace diez años, resulta más explicito, más significativo. La loggia en piedra pre-existente fue demolida para hacer espacio a la nueva Biblioteca, y conservando el ingreso al piso principal de la Universidad, éste resulta secundario, sujeto jerárquicamente al volumen principal.
La Universidad se abre hacia la Biblioteca gracias a una serie de volúmenes que unen las ventanas. Una escalera en la base conduce del primer piso de la Universidad al primer nivel de la Biblioteca nueva, donde en el amplio foyer, se encuentra la zona de consulta y catálogo informativo, la sala de lectura destinada a los profesores y el banco de distribución de los libros.
A los seis niveles de Torre Librería se agregan 3 niveles de rampa donde se ubican los descanso con mesas de lectura. Cada rampa define dos niveles de Torre. La altura de piso de la Torre Librería es reducida al mínimo, cosa de evitar la instalación de estanterías muy altas con el consecuente problema del uso de escaleras para acceder a los libros.Los seis niveles están conectados por una escalera dispuesta entre el muro de contención de la Torre Librería y su fachada, revestida de libros a la vista. El espesor de la estructura, transforma la Torre en una gran librería. La pendiente de las rampas conecta la Torre Librería con los cortes irregulares en fachada, creando realmente (no solo el efecto) un juego de volúmenes que flotan sobre luz. Vista desde el exterior, de día, el retranqueo neto de las ventanas, concentra la vista en el cielo vetado y las 4 columnas portantes apenas visibles. De noche los tres bloques principales flotan sobre planos de luz.
Las rampas no solo se suspenden en el vacio, sino que se definen con la luz que llega verticalmente desde una lucarna centra, y una luz horizontal desde los cortes de la fachada externa. Sobre las rampas, las plataformas acogen las mesas de lectura. Los focos de luz ambiente se encuentran empotrados en el mobiliario. La variación de luz durante el día son mayormente evidentes aquí. La luz de mañana entra directamente desde las perforaciones de la fachada, siendo más fría, complementada por la luz cenital del la lucarna, calentándose cada vez más hacia el mediodía, y enfriándose hacia la tarde, pero cuando llega la luz del atardecer, está se refleja en los edificios circundantes y refleja hacia el interior del edificio. Al aparente movimiento de rampas, libreros y mesas, se suma el dinámico juego de luces.
La parte inferior de las rampas está constituida de estructuras metálicas que componen la compleja geometría inclinada e irregular. El diseño original del edificio es una respuesta estructural, del paciente y brillante Ingeniero Andrea Imbrend junto con una serie de aportes arquitectónicos: utilizar la menor cantidad de columnas posibles, reducir los espesores de fundaciones cosa de mantener de la mejor manera la condición de restos de una villa Romana, junto con cumplir los requerimientos de normativa sísmica y antincendio recientemente implementada.
Imágenes /
Planimetría /
i stumbled upon the clever photography of chema madoz on a blog last week, and now i think i’m obsessed. thanks a lot, haha.nu!
this spanish artist has achieved critical acclaim by photographing everyday objects in alternate contexts and combinations.
he was born in madrid, studied there, and collected and exhibited internationally.
his work is witty, crisp and surreal. just how i like it.
I do my best to avoid showing you guys products that are just “concept” designs, so when I saw the image for this watch, I almost skipped right over it. Usually when I see industrial design work that’s as futuristic as this, I just assume it’s a conceptual mockup and move on to the next thing.
To my surprise, Nike’s Triax Vapor 300 digital watch is anything but vaporware. Its striking looks include a super-thin LCD screen mounted in an aluminum case that follows the curvature of your wrist. The screen is protected by a high-quality mineral glass lens, so it should handle all but the most extreme sports.
The watch is designed for serious athletes, with a 300-lap chronograph and five-segment interval timer. The Vapor 300 can also resist water at depths of up to 100-meters. It’s available for about $129 and comes in a variety of color schemes.
Tipsy Wine Bag- 06.28.07
Illu Stration by Mary-Ann Williams, the “Queen of Felt” has a gorgeous wine bottle - handbag - insulator “tipsy bag”. Its a nice detail how the zipper runs up the strap, and would make a nice hostess gift or a nice way to tote a bottle of wine around for that picnic, etc.
I was checking out Bandai Japan’s website earlier today when I came across this new micro robot that they’re coming out with later this year.
The Hex Bug series of miniature insect robots scurry along on six legs, just like real bugs. The tiny battery-operated robots automatically avoid obstacles and will change direction when you clap in their vicinity.
·
Obra: Casa Buceo
Arquitectos: G+, Gualano + Gualano http://www.gualano.com.uy/
Ubicación: Montevideo, Uruguay
Superficie: 124m2
Año: 2005
La vivienda se implanta en un terreno, de 7.50 x 17.50 metros, con la fachada más larga hacia el norte. El proyecto se estructura en base a dos bandas bien diferenciadas, una patio, la otra vivienda, una blanda y ausente y otra dura y presente. Esto genera una vivienda que se abre al patio y al norte, ya que el patio se coloca por delante, dejando que la casa absorba todo el sol y generando privacidad a partir de un muro elevado que define el patio al frente.
Este patio se plantea como extensión de la vivienda y también como extensión visual, es decir los límites no son el plano de fachada sino que es el muro exterior de bloque, de esta forma el espacio interior adquiere un ancho mayor, un espacio ¨doble¨, al que se abre toda la planta baja.
Esta planta baja contiene al estar, la escalera, el comedor, la cocina, el toilette y un lavadero, en tanto en la planta alta se encuentran los dos dormitorios de los niños con su baño, a un lado de la escalera y al otro, el dormitorio principal en suite.
El dormitorio principal tiene su propio espacio exterior, que es una terraza/patio que cuelga sobre el patio de abajo por un sistema de tensores, de esta forma la planta alta cuando cruza al límite blando se transforma en esta terraza, reforzando la idea del manejo de las dos bandas, un patio colgando sobre el otro.
A nivel de materiales, se manejan materialidades exploradas en el parador del Salto del Penitente (Lavalleja), materialidades que intentan ser terminaciones finales, es así que usamos el hormigón visto(liso y rugoso), el bloque, las maderas, el vidrio. Materiales que no requieran aplicación de terminaciones por encima del material, logrando así menor mantenimiento, asumiendo el envejecimiento de los materiales como una textura posible, usarlo a favor. Como así también desde un punto de vista económico reduciendo costos y subcontratos.
La estética de la casa plantea el manejo de recursos formales contemporáneos, formas abstractas con materialidades naturales, sin acabado, generando texturas que surgen de los propios materiales o de su manipulación.Abstracción pero al servicio del espacio, entendiendo la arquitectura como capaz de moldear la espacialidad, la luz, las fugas entre diferentes espacios, sentir ¨subir¨ la casa, sentirla ¨salir¨, lograr que los espacios se muevan por la casa, apelando a sus formas más primarias.
Polly George- 06.28.07
Polly George has some gorgeous ceramic lines designed and made in Kent, which are unlike any other. She’s the designer behind the Mr & Mrs Jones lemon and lime squeezers we’ve seen around for some time. I just spotted the Butterflies series at Oh Joy, and they actually first reminded me of the Mixko rings… Things to pay attention to? The crazy toast rack, butter dish, adorable egg and soldier stand and cake stand. Also, the site is designed with enormous background images (large like 4500 width)… so some snippets of pieces i liked below, but check out Polly’s site here to see more.
工具 
