44 Bikes

I would like to thank Richard Sachs and Velocipede Salon for the opportunity to be Smoked Out. Those previously Smoked Out I have long admired from afar. To be included in this list is quite the honor. So from myself to all: a sincere thank you.

I spent my youth in my home town of East Greenville, Pennsylvania. A curiosity to draw and build were fueled by my mother and fathers encouragement. Bicycles have been part of my life for as long as I can recall. From the first pedal stroke to the first full trip around the block left me with that all too addictive taste of freedom. To strike out on your own path, choose your direction and throw caution to the wind made a lasting impression on me that I have carried throughout my life.

My mothers father passed away when I was quite young. I have discovered we shared many similarities and skill-sets. He was a union welder and later opened his own fabrication business: “Superior Welding” in Emmaus, PA. The connected garage of my Grandmom’s home was really his tool storage. Big wrenches, arc welding machines, tig welding machines, industrial drills, strong boxes, air compressors, die grinders, files. I’d sneak in there during family get togethers and just pour over these well used tools as a kid and teen (some of which are now in my own shop). I’d put on his gloves and welding helmets and practice flipping the lid up and down. My only physical connection to the grandfather I had lost, but come to know and understand through shared work.

I was confused coming out of high school as to what that next step should be and settled on the Pennsylvania State University as it offered a wide array of disciplines. That first week was an eye opener. The question of: “what in the hell am I doing here” popped into my head on a daily basis. Luck would have it, PSU had an arts department. On a whim I signed up for “Introductory to Light Metals”. That first day of watching my professor work his skill with a torch, explain the importance of methodology, and watch the craft take shape instantly set a deep hook.

I discovered that the metal/machine shop across from our studio’s connected with the sculpture department had TIG welding machines with free instruction if you asked the tech nicely. I was taken through the steps of Arc and Mig but insisted that the goal was to be shown Tig. A turning point and discovery. Brazing and soldering are one thing, but making two materials one was something all together different and appealing to my sensibilities. Watching the molten pool, feeling the heat, hearing the arc. The process demanded my full attention and focus. I was engaged with the work fully. Hands, feet, body, mind.

I also noticed they had a small tool room lathe. Again, I inquired with the tech for permission and some lessons and he kindly obliged. This set off a frenzy of turning 6061 aluminum into bicycle hubs. This also set me off to the Aerospace Research Lab just off campus to inquire with the Mechanical Engineering Dept. regarding their machine shops. They did a lot of government research work (torpedos) and I had access to master machinists who did not mind answering any and all questions. They showed me how to grind my own tool bits, gave me tips and tricks and let me pick through their scrap bins. This resource was amazing.

Which brings me to a turning point: While researching construction techniques, I came upon a jeweler, Peter Skubic, with a series of pins and broaches entirely crafted of stainless steel and held together in tension with watch pins. Very industrial but very detailed and intricate. Beside his name it stated “Jeweler / Industrial Designer”. Turning the pages sketches emerged that were not jewelery but all sorts of design sketches and renderings. I turned that campus upside down trying to figure out what “Industrial Design” was. With my access to the Aerospace Research Lab as well as the Mechanical Engineering Dept., they kindly sat down with me and told me about the profession which was completely unknown to me. When I inquired with my professor (Leslie Leupp) where I may find out more or get said training, he instantly answered: RISD. A transfer and a whole new degree was not in my chips but that 4 letter acronym stuck with me the rest of my junior and senior year. All this while, I was riding my mountain bike to a near religious pitch.

My junior and senior year I was an apprentice at a local jewelery shop down town in State College (Aurum Goldsmiths). My senior summer was spent in State College and I sent out over 250 resume’s to anyone and everyone who had industrial design jobs listed. The best response was from Fox Racing Shox that went something to the tune of: “You have one of the most interesting backgrounds we have seen to date, but we wouldn’t know what to do with you.” With the apprenticeship ending, and no remaining irons in the fire I returned home for the fall to regroup, get a job in a bike shop as a wrench and perhaps go see what this Rhode Island School of Design was all about.

Returning home was a shock to the system and that is a bit of an understatement. I went from holding a torch in one hand and building and anodizing my own bicycle hubs in another to a 9am-9pm bike wrench job. There had to be more. Throwing caution to the wind, I ventured to Rhode Island for an orientation weekend to visit the Industrial Design Department. I was blown away. This was where someone could get some work done and make personal discoveries. I put my portfolio together, was accepted and that fall attended a transfer program that then led to 3 years of undergraduate work.

Let’s take a step backward for a minute: The whole time this “other” adventure was happening, I ran into the graphic designer for Bicycling Magazine while out for a ride on my day off from the bike shop. We got to talking and he offered to set up an interview. I got a job as his intern and helped out with the graphic design (which discovered I had a knack for) but right around this same time I am accepted to go back to school to get the degree and possibly the job I was looking for. The dilemma: bike magazine job on one end, with schwag, helping out with photo shoots, graphic design, rides over lunch and a possible career, or more school, intensive studies, debt and to get the training I wanted to just maybe become a product designer. Thankfully, everyone at Rodale Press and Bicycling Magazine were super supportive. I recall my boss Chris taking me aside stating: “get out of here.”

To be continued -

Continuing on...

Three years of intensive studies and full immersion in the industrial design field were truly life altering. The skills, methodology, process honing and sheer dedication of all involved was amazing. To put it lightly: I worked my ass off. A chance meeting my senior year put me in touch with one of the designers at Reebok who was visiting. A few interviews later and I was offered a position designing shoes. From Reebok I joined the team at Converse. The doldrums of the daily grind took their toll and the sheer shock of building what you designed and discovering through the process solutions to your design problems did not translate to the professional design job. I went from sketch, design, refine, build, rebuild, Bridgeports, tig welders and table saws to sitting in front of a computer all day long getting to know Adobe Illustrator better than the back side of my hand and eye strain overnight. That’s when I knew I needed a change and without a plan, tendered my resignation to start my own design studio. That first day of crossing 95 to go for a ride while watching all the “suckers” stuck in traffic put an instant smile on my face.

In those first weeks I called anyone and everyone I ever knew to see if they needed help. One did and I was off and running. Work never just ‘showed up’. It was a constant beating of the drums, pounding the pavement and being creative to get clients large and small to trust me as their product or graphic designer. 10 years later, a whole host of clients large and small, product design, graphic design, branding, packaging, and all things in between, I never lost sight of a long standing goal: Build bicycles. While in school and out as a professional, I have had a long standing side project: 44 Bikes. A designer once told me: “Tell me what you want, and I’ll give you what you need”. When I quit my job at Converse, I asked myself what I wanted. My answer was I wanted to build bicycles. Plain and simple. What I needed was for it to be on my own terms. So I put together a plan that involved time, patience and some ingenuity: Start a design studio and use those profits to slowly put together and build a second brand: 44 Bikes. Things happened slowly. First the name, then the brand identity, registering those with the USPTO, a website, honing designs all with the purpose of eventually having a place where I can build my own bicycles. It all just came down to timing and a lot of patience. The remaining piece of the puzzle was a space to create.

Opportunity kind of struck when my wife's twin sister got a new job in New Hampshire (when you marry a twin it’s a bit of a package deal as they are very close). So it was only a matter of time before my wife Lynn would seek out teaching positions in NH and we too would make the move. Fast forward and within 2 years I found myself in “scenic” Lyndeborough, NH. My clients stretched far and wide but did not mind the move as most of the work was done via virtual means and occasional meetings with travel in between. At this time, I had an Eastern Woods Research Original Woods I wanted to have converted for disk brakes and recalled that Ted Wojcik was in NH. He was my introduction to custom bicycles while in State College. Eddie’s Bike Shop had a blue Ted Wojcik on the wall and I recall the lust and wonderment of it’s clean, purpose built lines. I called, Ted answered and we agreed to meet. A few meetings later we had developed a friendship and a trade: he’d let me look over his shoulder every Friday and I’d help him redesign his logo, website, provide catalog support and all things graphic design.

Ted’s kindness, friendship and willingness to share his knowledge has left me forever grateful and a better craftsman for it. Tips, tricks and methodology were freely passed along. Those first few weeks I just stood and watched him work. I came to the table with a skill set that he honed. This relationship came to an end in late 2010 when Ted took me aside and in so many words said it was time. This was just the kick in the tuchus I needed. It was time to realize the dream that was just now in sharp focus. That summer I dug the line for power to be run out to the shop and prep the inside of the shop for the build out. (You can read a detailed entry here and see more images here. Many giving individuals helped me with this process with lent machine time, shop access, free materials and expertise. I spent the better part of my free time that spring, summer and fall of 2011 building out the shop and designing/building all my own tooling.

It has been quite a journey and there’s still a lot of road to go. I feel I’ve only really just scratched the surface of discoveries, knowledge and skills. I have much to learn and much I’d like to give back for all those who have helped me along the way. Each day I go out to the shop, I can’t believe I’m standing where I am. A dream realized is something to behold. It just took time, patience, focus, dedication and hard work. And a heck of a lot of discipline. All this while one constant has remained: Riding my bicycle. It still remains as a way for me to get lost, free my mind of the daily rituals and regenerate creatively. This is me and this is what I hope 44 Bikes to become.

Thank you for this opportunity to share my passion for design and bicycles with all of you.

Great read, thanks for taking the time to write it up.

I'm a fan of the bikes, you do some neat stuff. Tell us more about the bikes! When did you build your first frame? How long have you been seriously building? Do you only build MTBs? What's your take on geometry and handling?

Most of your rigs don't appear to be XC speed machines/long distance cruisers to my eye, they look more like BMX inspired bikes that are made to ride tight technical terrain, and ride it hard.

Oh yeah, and where does the name (44 Bikes) come from?

That's really awesome stuff. Thanks for sharing.

Kristofer,

Great to see you have been "smoked"!!

It's obvious to see your strong background of graphic design in all your work. You have some really great stuff.

I can't wait to see the finished pics of the Huntsmen.....do you have any plans in the future to build more skinny tired bikes?

Darrel

Thanks for taking the time to introduce yourself and your approach to your craft.

I really respect how strong your design vision is. Your bikes have excellent visual balance. Not had the chance to ride one, but expect that the clarity comes through in the ride.

Thanks Dustin for the kind words on the bikes/work. The very first bike frame I built was around the end of 2000. I had attempted one in and around 1996 or 1997 with no guidance and was completely over my head. I have been building off and on since 2000 but seriously making a go of it the last 2 years.

An admission: I am a mountain biker at heart. That is what makes me tick and where I can completely clear my head and find that zone. Riding has become very much a part of me and to not pedal would be akin to not breath. So I would say my specialty is mountain bikes but I really just love bicycles. I just finished up a crossish/gravel type bike that will be at the New England Builders Ball and I'm starting a fixed gear this next week. I've had a bunch of individuals inquire about road and cross bikes. So to answer your question I do build it all but feel most at home anything that will touch some sort of dirt.

Geo/handling wise of mtn. bikes I prefer a bit more upright position, tighter cockpit, bottom bracket only as low as it needs to be... you're "in" the bike. I will say there's a bit of voodoo with each rider to distribute his/her weight between the wheels and properly balance all the variables. That just comes from making one, riding it, tweaking it,. Building another, riding it, tweaking, adjusting, honing, repeat, repeat, repeat. So knowing how you want the bike to handle, what kind of experience you want that given rider to have (and understanding what kind of experience that rider has requested), what their terrain is, what their style of riding is and funnel all of that into the build. It's a balancing act.

The story behind the name "44 Bikes" is such: Football played a pretty large part of my early years in the Perkiomen Valley of my home state of PA. I was raised on stories of the old "BucksMont League", looking at pictures of my grandpop with no facemask, leather helmets and stories before he enlisted in the Navy for WWII. My father had played on the same field that his father did. My Middle School was the old High School that they both had attended (I attended the new Upper Perkiomen High School - same school just different location). There was a rich family history there for me and left an impression. Stories surrounded "who wore what number" and so on. My grandfather was #27, my uncle Kurt had worn #14, my father #44. My Dad and I would go down the street to a large grass lot in front of a church and throw ball till the sun went down. We'd always end it with some sort of scenario with the clock running down, no time outs, deep in our own territory with some sort of hail mary thrown in for good measure. Naturally if I dropped the ball, there would be an endless list of penalties my Dad would make up until I caught one to end the game. Being impressionable and wanting to emulate my own father (and very much looking up to him), when it was my turn I chose that number too. The game taught me a lot about mental and physical limits, discipline, patience, the worth of practice makes perfect, and team work. The number 44 also seemed to be a lucky number for me throughout my years popping up when the chips were down and reminding me to work hard and "earn it" no matter what. Nostalgia, good luck and the duality of the number seemed to have a lot of weight in my book. It only felt fitting to use that as my frame businesses name/logo. The logo also has a lot of meaning to it. I'll have to make up a little "pictograph" explaining what all of the symbols mean and what the story is. There's a lot of thought that went into it.

Hope that answers your questions thoroughly and perhaps prompts more!

@DeeDub76: Thanks for the kind words on the work. I do have plans on skinny tires. First come first serve! I love bicycles and would love to build anything with 2 wheels. Oddly I went to school for ID but most of the work that seems to have seen the light of day happens to be Graphic Design. I've got a lot of product out there too but it has been nice from a design perspective to have full control of one project that embodies all of my skillsets and the end result is actually Product Design. I wouldn't have it any other way. It certainly is refreshing to be calling the shots and making decisions rather than designing, presenting and then refining those designs based on client feedback. There is a refreshing challenge in the later though as well because as a designer you have to put yourself in your clients shoes and see things from their perspective all the while balancing your own vision for them as well. It's a bit of push and pull and I see that with frame building as well.

@Matthew J: Thanks for the kind words. The doors are always open here at 44 HQ. Trails, dirt roads and steep as "F" paved roads right from the shop. A test loop is in the works so feel free to stop by and ride one of the bikes I have on hand.

Quote:

---

Originally Posted by fortyfour

Hope that answers your questions thoroughly...

---

Yes indeed, thanks!

Great read. I stumbled across your Garage Journal thread before you started posting over here. As a recent home owner that now has a garage your build out is great inspiration. I have no lofty goals to build for sale, just personal and family bikes.

I stumbled upon Garage Journal just by chance when I was doing research on insulation actually. I figured since I learned so much, I should give back in some way and share the build out. Still a bunch to do but it's great to look back at some of the shots of before/after the shop and realize just how much it's come...

Before:

http://farm5.staticflickr.com/4108/5...19e483b2_b.jpg

During:

http://farm7.staticflickr.com/6010/5...d30e398b_b.jpg

Done (...and yes that's snow in October last year):

http://farm7.staticflickr.com/6047/6...88380bd8_b.jpg

Kristofer, it's been fun watching you build that shop from afar. I like the whole package, good luck to you!
Craig

Thanks Craig. It was great to build it out but even sweeter to finally have a place to build bikes. A level of accomplishment I had never felt which feels great. Now it's time to make it all work.

At the Hampshire 100, I had a chance to meet Kristopher, and see his work first hand. He spent a good amount time with me answering questions, as i picked his brain. He does really really nice work.

Kristofer, you have a really nice eye. I'm looking fwd to watching you and your brand grow.

Kris,
This gets me warm around the collar: 70.5 deg HT / 73 deg ST, 16.5" chainstay Those are numbers from your Big Boy bike. How did that work out? After I quit work at the coal mines and returned home with ruined knees my rehab consisted of mtn. biking. My first race bike was from C.Chance and it was THAT stable. Love seeing what you do and your designs reflect a style that speaks to me. Currently I have a 29' rigid from Drew that's pretty great for trails and am hoping to get something very light and nimble for "play" on the terrain that I used to ride many yrs. ago. Hairstyles and attitudes come and go but one thing that makes a ton of sense for having maximum fun on Eastern trails might be a really light 29'r single speed with a low top tube.
Are you seeing more people riding singlespeed these days? Thoughts?

PS - nice work > http://farm9.staticflickr.com/8319/7...8fc86e54_m.jpg

http://farm9.staticflickr.com/8176/7...ab777653_c.jpg

Thanks for doing this. I find myself looking at your FNL posts and asking myself "who the hell is this guy and where did he come from"?

PSU engineering. Rodale. RISD. Eastern Woods Research and Ted MF'ing Wojcik.

Now I get it.

@Shoogs: Thanks for the kind words on the builds/work and any time you fellas are up in these neck of the woods give me a shout! The Hampshire 100 unfortunately does not show the discerning mountain biker the "finer" details of the areas trails. So much sweet singletrack packed in this area. I'd be happy to give

@Too Tall: You asked for it... :) You are correct about the "Big Boy" build's numbers. Ironically each time I'd step away from that build it would START snowing... Then when I'd start, the snow would melt. I kept thinking "Watch this, I'll build a fat bike and it won't snow. IN NH." Naturally that is just what happened. I've had to sit on that thing waiting for snow. Not to mention it will be at the New England Builders Ball with full packs - so I can't risk the paint. Before it was painted, I had a chance to take it out on a lot of different local singletrack with a lot of different terrain. The 4" tires add gobs of traction, and the relatively short stays make that bike pick up effortlessly. There was some voodoo going on with the radius seat tube, all that tire clearance and making room for the guide, chainring/cranks etc. so everything worked. It uses a Phil Wood Square Taper BB, which reminded me of just how cool and "unbroken" that standard truly is with the ability to adjust chainline, spindle length and such. Here's a short vid of it in action:

https://vimeo.com/40396165

The tires really soak up the trail nasties and having the low slung frame allows for a lot of body english through the tech. Now to contrast it with this bike:

http://farm9.staticflickr.com/8175/7...9c13e6f8_c.jpg

The numbers are similar: 70.5 HT, 73 ST, 16-16.8" chainstay adjustment (Paragon Machine Works hooded sliders with Post Mount option). One thing that is different is the bottom bracket height. The fat bike has a bb height of 12.5" vs 12.25" on the hard tail above. Over time, it's become clear that small changes make large results on trail for me (My previous hardtail had a 12.375" bb height). Personally, what I have found with lowering the bottom bracket height, it quickens steering as the riders center of gravity is lowered getting you more "in" the bike. This is of course a balancing act of how low is too low and how high is too high given the terrain here on the east coast. Like I stated earlier, I prefer a more upright stance on a mountain bike. Couple this with the above HT angle, and bottom bracket height and things seem to work well on trail and act as an extension of the rider. The mountain bikes that clients have requested I build for them are very akin to what I would ride and the trails I prefer which are techy, combination of fast/slow riding mixed with plenty of descending and climbing. I really try to make the bikes excel in all conditions so it's an all around great mountain bike. Naturally they're more east coast oriented.

I built the bike above as a test platform for myself so if a client came and asked what 16" stays felt like compared to say 16.25, 16.5, or 16.75, I could honestly give them an answer based on real time input. What I have noticed is with the bike setup rigid, with 16" stays, it feels more like a 26" in terms of being able to loft the front / bike effortlessly. That was the first thing that struck me on trail. At 16" and with a rigid fork, it does tend to chatter/skip a bit in really tight tech at speed. Some of this I believe is due to the rigid fork. But if I were to pick the lesser of two evils, I'd still personally opt for the extremely playful nature of that chainstay length. I believe some of that chatter would quiet down with a susp. fork (which I'm about to make the switch just for the sake of experiments). If I was going to pick a great all around stay length for someone who wants easy lofting, bunny hops and long days in the saddle, I'd say 16.5" is where it's at right now for me on 29" wheels. With the ability to radius a 1.25" seat tube with .035" wall thickness, it really enables me to make room for the wheel size and afford space for everything to jive with a 29" wheel.

Personally, I switch between SS and gears a lot. They're easy to maintain and a ton of fun. Actually the next 29er in the quo is Arizona bound and is a SS. Hope that answers some of your questions!

@nahtnoj: You're welcome. I've been "running silent, running deep" for too long. Looking forward to sharing more.

Hey Kris, I'm glad you sat down to write this stuff down. Ever since you first started showing your work on here I've been attracted to it. From your design work, through your workshop and onto your great bikes. Something about it ticks all tehr ight boxes for me. The attention to detail and the aesthetic ticks a lot of boxes for me. Love it.

Nice read - thanks for taking that time to share.

Grrrrrrr! Need to proof read more.

No worries - I'll chalk that up to excitement. Thanks for the kind words.

Here's a rare shot from the archives when all I had was a camera that required that stuff "film". Just finished boring one of the many hubs I machined, built and rode. My first real taste of riding what I created.

http://farm8.staticflickr.com/7150/6...babca875_b.jpg

http://farm8.staticflickr.com/7151/6...04b6e727_b.jpg

Like to hear the story behind your logo.

Tim


The logo also has a lot of meaning to it. I'll have to make up a little "pictograph" explaining what all of the symbols mean and what the story is. There's a lot of thought that went into it.

I forget how I first stumbled onto your bikes, but the more I look at them the more I want one. Now I find out that your from my area originally, I'll be selling my Stumpjumper in short order to offset the cost! Great read and wish you happy riding!

With any logo project I take on, it takes careful planning, a heck of a lot of thought, a lot of process, and inspiration. Knowing your "ideal user" is also helpful. In this case, it was a serious one of "the coblers kids have no shoes". It's one thing to meet with a client, discuss what their brand is, what they want it to be and develop a story that embodies their brand. This is then interpretted and translated through my own lens/filter back to the client. So a lot of it is understanding what the want, but knowing what they need. With the shoe completely on the other foot however, the project can get flipped on it's head. Now I was playing client AND designer all at once. I found over time that sometimes I need to actually separate these two parts out and in so many ways, talk to myself and ask those same questions I would of a client. It all starts with pencil and paper however. Sometimes it goes right into the computer (Adobe Illustrator is my weapon of choice for logo creation). Sometimes it starts as a sketch on paper, then gets scanned, refined, printed out and further manipulated by hand. This process of refinement can happen quickly or can take some time - it all depends really as you begin to play with the forms and letters (or numbers in this case). But generally, coming out of those first conversations, I'll have a pretty clear idea, even if it's a foggy one, of where I need to go. But it is very important to know your client, know their audience and understand how the logo will be used and what types of applications it will be put through.

So the story behind my logo starts in and around 2006-ish. Mostly I was playing primarily with the numbers "44" as forms but not really having any real inspiration and not really getting anywhere. I let this rest for about 2 years (literally) and pulled it off the shelf around 2008 again when I really started to get serious about making 44 Bikes a brand. This is when I had that conversation with myself and I began to do a "brain dump". I needed to identify what I wanted 44 Bikes to be. What it's heritage was. So I started by writing all kinds of words that inspire me with regards to bicycles, feelings, phrases, etc. Then I branched off into some nostalgic terms that related back to my family heritage with as well as my own personal 'bloodline' with physical heritage. This was really important because it began to paint a backstory of the brand that was really an extension of myself. I knew I didn't want to simply name it after myself like "Henry Cycles" or something along those lines. That was a bit too literal for my sensibilities. I really love the dynamic that symbols and icons play in our every day lives. Things that are recognizable without fully seeing them. So I knew I wanted the logo to have some visual depth. Here's a quick mockup of the original sources of going through that process of developing the logo from it's original incarnation in 2008 (bottom) to where it was fully realized and refined in about 2010 (top). There's a lot missing from this, but these are the most prominent forms that the logo went through before I was "done".

http://farm9.staticflickr.com/8171/8...f79218dd_c.jpg

The original at the bottom took me a while to arrive at and the one at the top took a few days to fully develop and refine. Keep in mind that this was done intermittently between client work, late nights or full on assaults. Sometimes I'll be working on one project that will completely derail because a previous project or even a future project comes crashing into sharp focus. I'll have to push aside that work, and change gears while the juices are flowing. While this may seem disjointed it's actually not. Each project vibes off of each other and continuously is developing in my conscious. So in a way, the more diverse the project load out, the better the results sometimes can be as they are all helping to push one another to that next level. This can even happen out in the shop and vice versa. But when I begin a actual bicycle build, that is done from start to finish without interuption. I do not mix and match builds (that's a recipe for disaster as numbers and measurements could really be mixed up between drawings). It works well on the visual design side, but when it's time to build, it's not so. But it's all really one continuous creative flow if you follow me. I've worked up a pictogram to help illustrate the story and meaning:

http://farm9.staticflickr.com/8041/8...f8633c4c_c.jpg

There are two versions of the logo: One with the word lock and one without. The one with the word lock I refer to as the "44 Logo Stack".

Here goes: The overall form if you get rid of everything is a shield. That is a protective symbol so everything inside is locked up tight and under watch by this form. Inside of this is the "Word Lock". The literal side of the brand. Just below and encasing "The heart" is "The Field". This allows the eye to rest and plays a bit of a dynamic with the positive and negative shapes and allows the heart shape to rest as well as they eyes. This is also a reference to the gridiron. The basic shape within the shield is "The Heart". I live and breath bicycles. They're in my blood. It's my heartbeat. That heart form is stamped on the front of each and every one of my bikes. It's another way of stating: My Heart is worn on my sleeve. "The Twins" also play much like a left/right ventrical. My heritage is 1/2 German, 1/4 Irish and 1/4 Polish. The Germanness seems to get the better of me and this is a slight nod to the traditional double headed eagle. It also plays to the tune that I am married to a twin. She's there with my heart. They point east and west-bringing the two sides together (and hint at the duality of the Number 44, divisible by 2). The heart is shrouded by "the Wings". These are stretched downward, much like a bird would finish it's stroke of flight upward, ascending. Not up or outstretched as to pause the form. "The Vents" harken the days of the balloon tire cruisers and the early clunkers - my nod to mountain bikes early days. "The Numbers" bring it all together so the shape is a shield within a shield = double protection. That's it in a nutshell. All the DNA of my heritage, love and passion locked up in that logo.

Here it is without the pictogram:

http://farm3.staticflickr.com/2722/4...2feec5538a.jpg

And the art for the head badge as a pure logo version sans word lock:

http://farm5.staticflickr.com/4045/4...084f4e4784.jpg

This same process but not as lengthy in terms of meaning was done for the logo font I recently finished. This one was more functionally motivated and applied where I knew the form was going to be wrapped around a tube so many versions were printed, cut and wrapped around a tube to seek balance. I prefer a clean frame, but I think there may be those who may want this with their build so it was will be an option and was a challenge to realize. Here's a pic of the finished DT script:

http://farm9.staticflickr.com/8172/8...5e193c2e_c.jpg

Very cool, LOTS of thought in that logo. Thanks for explaining. Quick question about the font, last image in your post above. And let me preface this by saying my graphic design knowledge is limited to what I've done in Microsoft Paint.

I see the F and T have some curvature to the vertical 'lines' of the letter, but none of the others have that curve. Why is that? Do you have a picture of the script on a bike we could see?

Thanks - I wanted a bit of play between the stem of the T and the descender of the Y. The original all caps letter forms were a bit too "stiff" and upright to my eye. When wrapped around a tube, they seemed to elongate even more and the letters seemed bunched together. That bend in the T begins to quiet down a bit when wrapped around a tube which is an interesting flip. I changed the feel of the "F's" a bit to give them more emphasis and pull your eyes through the forms. The bent stem of the T also begins to fill in some of that negative space created by the descender of the Y. These changes were more functional/visual than literal meaning of any kind. The only shots I have of the DT script is black on black at this point and a bit tough to take a photo of ironically as they are tonal (which is part of the idea with this build - subtle branding):

http://farm9.staticflickr.com/8033/8...98737c8d_c.jpg

I'll be taking better shots of this build, which is a cross / gravel frame that will be seeing the light of day at the New England Builders Ball, and be sure to post up the full build shots here after the show.

Quote:

---

Originally Posted by Too Tall

http://farm9.staticflickr.com/8176/7...ab777653_c.jpg

---

I rode this bike very briefly at the NH100- nothing more than what amounted to a parking lot ride. But what was really self evident right out of the gate was the nimbleness to it- the front lifted up nicely and did not feel "long"...it could turn and I could really wheelie it...which not all 29er bikes lend themselves to that. I have had a bunch of 29ers but none had the short wheel base feel that would be great for really-really technical riding...

I can get away with murder with big wheels (they dumb down the trail), but I would be trouble if I had a bike that I could pick the front end up so easily.

PS: 44 is A+... I met Kris and his beautiful wife at NH100...super cool cats that I wished I had gotten to hang out with more.

Wow. Really cool read. Loved hearing your story and the meaning behind your logo.

How long were you with Ted W and how did your "internship" progress? What is the main (or top 3 if you wish) thing(s) you felt you learned from Ted that was eye opening? Or was the experience more like fine tuning the skills you had been working on throughout your life?

Thanks for this. This was inspiring.

@The Bottle Ride: Thanks for the kind words - what's been amazing is meeting people like you who have been following along and specifically, followed that build from start to finish and then being able to hand the bike over and say "let me know what you think". It's one thing to build these bikes, but a whole other level of fulfillment to see someone ride away on one and return with wide eyes and white teeth.

@Roguedog: Thanks for the kind words. I was working and helping Ted for approximately 2.5 - 3 years. To answer your question, it is a bit of both honing skills and learning new ones. Most likely the biggest impact Ted had was bringing my welding skills to the next level, hands down. There are things you learn from someone who has seen it all and has that much talent/experience under their belt that you just can't learn on your own (or if you do, it takes a heck of a long time). Small tips and tricks were passed along that I keep very close and it's those little details and conversations of open dialogue in the learning process that really helped me. So in a way, to be under the wing of a master, it's not only an honor, but a gigantic slice of mentorship. I see and recognize the value of the traditional apprentice/master relationship for sure. That's how skilled workers come to be, and how the craft can be passed along and continually honed. That also helps to raise the bar all along the playing field too. I gained a friend, a pier and met an amazing person for sure. I am forever in his debt for the kindness and openness he showed me. What goes around comes around as they say. One day when I am in that position, I'd like to do the same and pass along my knowledge to the right person/s. But I have a lot to learn still! Which is cool as life is all about continually challenging oneself and learning new things each day. IMO: Ted Rules ATMO.

Thanks for the explanation of the logo, when I first started following your work I thought you had some kind of labor union affiliation. All the best in the future, you have worked very hard, I'm sure it will pay off big.

Tim

Thanks Tim. No labor union affiliations but a fan of the labor movement aesthetic and it's history. I am a supporter of workers rights (of all ranks be it blue or white collar) and the importance of "Made in the USA".

Cool my Dad was a Union tool and die maker learned alot from him, I belong to a Union as well, it's certainly a dying breed. I even made up a fictitious decal for my HJ and True Temper frameset for fun, your welcome to join dues are free representation is nil ;)

Quote:

---

Originally Posted by fortyfour

Thanks Tim. No labor union affiliations but a fan of the labor movement aesthetic and it's history. I am a supporter of workers rights (of all ranks be it blue or white collar) and the importance of "Made in the USA".

---

Good stuff. I belong to my "Local No. 44":

http://farm6.staticflickr.com/5272/5...17b0fd63_b.jpg

http://farm7.staticflickr.com/6011/5...ac0a0f9c_b.jpg

So taking a step back, I thought it would be appropriate to show everyone the "other side" of what I have done. First up is some silver work. These all start as round stock that is annealed, drawn down to size/shape and in some cases hand forged to their shapes before assembled by hand with a variety of construction techniques. Each one of these is individually constructed and joined systematically as they are built to form the links that make up these necklaces. More experiments in form than anything else. These two pieces actually followed my discovery of enamel and learning the methods associated with enameling - my work up to that point was very "rectilinear". The introduction of a color palette other than copper, silver, gold etc. really opened things up and changed the direction of the work dramatically.

http://farm7.staticflickr.com/6219/6...f01c7cfd_b.jpg

http://farm7.staticflickr.com/6116/6...5d17a758_b.jpg

These next pieces start life as copper sheet - I believe it was actually 18g copper, that was annealed and rolled down to 20 or 22g. I then created dies for the shapes that were then hand cut out of .25" aluminum, and cut by hand with a jewelers saw (insane I know) and with the aid of a large swing press, the positive shapes were pressed out forming these pods. These were then cut out again with a jewelers saw, filed/tuned the edges, and then were prepped for the enameling process. Both the inside/outside are enameled. Then assembled as these necklaces:

http://farm7.staticflickr.com/6228/6...f52d2792_b.jpg

http://farm7.staticflickr.com/6037/6...bb99db25_b.jpg

A happy accident is when you pick them up and they rattle together - the sound is quite pleasing and delicate. The next are hair pins that incorporate some of the methods of the assembled necklaces from silver above, forming bezels and the enameled parts are held with short prongs. Again - a bit more experimental than functional but they do work.

http://farm7.staticflickr.com/6239/6...c3974d7d_b.jpg

http://farm7.staticflickr.com/6120/6...94880818_b.jpg

The green enamel are actually two different colors with different firing temperatures. By over firing or under firing these two separately, I was able to get some depth as the second firing is under fired, forcing that color to pull together in a dot pattern giving some visual depth. Over firing allows me to regulate some of that burn on the edges that can be interesting if done subtly.

I scored a kiln not too long ago - so this winter I hope to revisit a few of these and see where it takes me next. Enjoy.

Let's check out some ID sketchin'. Personally, I like to start concepts with HB lead on Graphics 360. This allows me to explore form quickly and easily in 3d or planned view. Most of my sketches start as planned view sketches to hash out the overall look and function. When I get to the point where I need to start presenting concepts to the client, that is when I pop to 3/4 views and such as it begins to give the client more of an idea of the concept and allows me to fully visualize things. But initially, I prefer to work in planned view sketches as i can work quicker this way and get more concepts down which is important. From here I will do some quick renderings by hand sometimes if I see it as appropriate or depending on mood, and other times I will then scan these sketches and create a more polished rendering utilizing Adobe Illustrator and Adobe Photoshop. This allows me then to assemble things into a PDF or print in high resolution. Not to mention, concepts are not at risk of getting "F'd" up with pen and ink - I don't have ready access to a copier, otherwise I would keep with more traditional methods as it keeps things a lot more interesting than staring at a computer screen. The sketches also have a bit more organic feel to them too and not so brushed as per computer work. The only time I will do anything in cad, is either final production forms OR if there is a perspective I can't seem to nail. I'll build it in solidworks and utilize that as an underlay to get perspective right. Overall the majority of these sketches are quick and gestural in nature. More conceptual than anything else. I've found this starts to build ideas and excitement around a particular concept and functional aspects of these concepts can be explained through simple sketches. Starts to build a story. Hope all enjoy. So much of this work never sees the light of day. Most likely 99.9% of what I do never goes anywhere. Nice with the framebuilding: 100% sees the light of day and 100% goes somewhere!

From my shoe design days. Concept sketches for outsoles:

http://farm5.staticflickr.com/4074/4...91630dc0_b.jpg

http://farm5.staticflickr.com/4085/4...625185e0_b.jpg

http://farm5.staticflickr.com/4148/4...a2450c99_b.jpg

http://farm5.staticflickr.com/4091/4...9dc76458_b.jpg

Concept sketches for various "other" work/clients. Hydration components:

http://farm5.staticflickr.com/4144/4...737b3819_b.jpg

http://farm5.staticflickr.com/4146/4...b818e7a8_b.jpg

Loose helmet concepts:

http://farm5.staticflickr.com/4085/4...df1efb0b_b.jpg

http://farm5.staticflickr.com/4129/4...1de64208_b.jpg

Glove concepts:

http://farm5.staticflickr.com/4092/4...d4839339_b.jpg

http://farm5.staticflickr.com/4085/4...92574761_b.jpg

Loose initial concept for the Fuel Belt "Helium" Collection:

http://farm5.staticflickr.com/4108/4...d14c4842_b.jpg

Final concept for the Helium Hydration System:

http://farm4.staticflickr.com/3263/2...3e1e29af_o.jpg

Finished Product: (Photo courtesy Fuel Belt - one of my clients)

http://farm4.staticflickr.com/3169/2...9260eaf3_o.jpg

Cool shit Kris...nice to see you here in SO. Keep rockin it!

rody