Just in time so that you can look fresh going back to school in January, Undefeated is releasing its Varsity Pack. The two-piece consists of a varsity jacket and new era fitted, both using the same style and the same material. Finally a good use for that student loan money that’s been burning a hole in your pocket.

Info.Image: SlamXHype

Greedy Genius links up with Barneys New York for the second collaboration in the past year. Limited to 125 pairs, these were sold exclusively at Barneys on the 23rd of December, so if you missed them, keep your eyes out for an auction!

Info.Image: Hypebeast

Bathing Ape favorites, Kanye West, and Nigo, lend their faces to the newest BAPE catalog which previews the Spring and Summer lines for BAPE 2007.

Info.Image: Guillotine

Strictly released to those with “Friends and Family” accounts, this new pair of Adidas Longline is made of black leather and contain 3M reflective material. Infared applications on the midsole, which is complemented by a honeycomb pattern, add great texture to this shoe.

Info.Image: Hypebeast

Christmas Day saw the death of James Brown who sadly passed away aged 73. The singer whose hits include, Poppa’s Got A Brand New Bag, and Please, Please, Please, died early Christmas morning after a servere bout of pneumonia.

Despite a checked past including a spell in prison from a young age, Brown became one of the musical pioneers for his and many more generations that followed. His catalogue of hits has been heavily sampled in hip hop for well over 20 years, with many people citing his music as a major influence in their careers.

Phonte of hip hop group, Little Brother, summed it up pretty well on his myspace blog, with a picture of Mr Brown and the statement, ‘Hip Hop Has Died This Morning’

He will be sadly missed and our thoughts and prayers go out to his family and friends

Keeping in line with the Japanese influenced Safety series, Adidas is releasing a ‘peace, love and flowers’ camo collection to the series late this December. Featuring cord based wallets, backpacks and purses, this one is more for the ladies.

Info.Image: Hypebeast

Diving freaks and snorkelling geeks, these kicks are for you! This January, New Balance is releasing the extremely limited Super Team 33 Collection set of sneakers only available at 33 shops worldwide. Check out the neon tetra, clown and butterfly fish inspired models for some indoor aquatic fetish action, complete with fish scale, fin detailing and T33 heel embroidery.

Info. Image : Hypebeast

“The leak and the leak,” is what the Breakout Man of the Year, First and Fifteen’s front man, Lupe Fiasco, labels the gift and the curse of 2006. The Internet leak pushed back Lupe’s album further than Akon’s hairline, but Emperor Lu still scooped three Grammy nods, a Reebok deal and an upstart clothing line—dropping in fall 2007—aligned with Righteous King Fu camp called Trillion Truly. Riding high off his success, Lupe still stays grounded, but he has bloomed into a savvy businessman that understands, like his mentor that guided the Chi-town native from day-one; market the whole package and “Never chase the radio.”

Format: You have a Grammy under your belt and you’re now nominated for three more Grammies. If you win another Grammy do you think it will feel like the first one?
Lupe Fiasco: The first one was awarded to the company. For this one it’s automatically different, because it’s from my own work [now]. I don’t know. Truthfully, if it happens, it happens, if it don’t, it don’t. I’m happy for Soundtrack, it’s his first year in, first single and then it gets nominated for two Grammies all in the same year. I’m looking at him to see what he’s going to do – I’m cool I’m chillin.

Format: How does it feel to be GQ’s Breakout Man of the Year?
Lupe Fiasco: On the music side for me the Grammies are the top, but on the other side, the more personal side, being a regular guy, that’s the tops for me, to be GQ Breakout Man of the Year. You know what I’m sayin’, like the name is dope, so to be GQ Breakout Man of the Year is even fresher. Then to be in the same ranks as like Al Gore and Leonardo DiCaprio and people like that, and to meet up with my boss Jay, and to be at the same level he is in a lot of aspects [now], early is really dope to me.

“To me, if hip-hop was a car it would be a Benz sitting on 24s…”

Format: Speaking of Jay-Z what is the biggest thing you take from your experiences with him?
Lupe Fiasco: It’s always been the same, he told [me] don’t chase radio about four years ago and we always stuck to that – don’t chase radio and do what feels right. Get your fan base together and don’t go for the status quo. And so it works, and it’s continuing to work.

Format: Right now, do you feel that hip-hop is more of an art or an industry?
Lupe Fiasco: Hip-hop is an industry right now – well it’s both, I take that back. It’s both and I try to practice it at an artist level, but I’m a businessman, too, so to me it’s fifty-fifty. I always work in both arenas at the same time. I make music that fits the industry, you know what I’m sayin’, not really chasing the radio, but I keep it open where it appeals to everyone, where I’m not locked in this hole and I’m making the music, and it sounds good to me, and blah, blah, blah. I really do both where it fits both arenas and I try to package it up where it fits. It’s shiny and it’s glossy, and it’s not brown with a backpack on it and people can’t really relate to it. I understand the importance of pop and hype, and prestige and all those different elements that you need to have to make something work especially when you’re trying to sell it.

“Hip-hop should be a vehicle for the masses not ostracized, not derogatory where it’s breaking people down.”

Format: Speaking of the business side, what’s in store for RKF in 2007?
Lupe Fiasco: We’re doing our clothing line out of Righteous Kung Fu called Trillion Truly, which is like high-end clothing joints that we’re putting together and we have a lot of collaborations with a few companies out of Japan and London. So we’re just putting it together and building it up, it’s our little baby and hopefully we’ll have a full line by next fall.

Format: What’s up with Reebok?
Lupe Fiasco: Reebok is done in February and that will be it! I think I’m going to step away from that arena for a minute. I learned a lot from them on what and what not to do. So, when this contract is up I’m going to just chill for a minute.

Format: Presently, you’re very business-minded, so what are some of the things that you learned from Reebok – any positive things you applied to RKF?
Lupe Fiasco: It’s stuff that I kind of knew, but it was just reaffirmed by being inside the system. You know you have certain things on the outside looking in where you make all these assumptions and then you go into it, and you think it’s going to be everything you thought it was, and found out that it wasn’t. It was kind of both. Learning some things and reaffirming certain things about working in a company on that scale, and the importance of niches and the unimportance; that you can be quickly looked over by these gargantuan corporations like “whatever” really quickly so you have to know how to move with in them and make things happen for yourself.

Format: Food & Liquor was leaked months before it was released. What do you see yourself doing differently with this next album so a leak doesn’t happen again?
Lupe Fiasco: I mean it’ll be the same thing, you can’t escape the leak. It’s going to be a little bit tighter and the actual process is going to be condensed. There is going to be a lot of pre-set-up; so from recording, to mastering, to mixing, to production it’s going to be on a real tight schedule, so we’re maxing out time. What we had with the last album was a lot of time. It was three years, so now we’re making The Cool into about three weeks.

Format: On your track “Hurt Me Soul”, the last verse really sticks out. You rap about the world’s ills, but the same time you’re sitting on 24s, so it appears like you’re saying my life is great, but all this bullshit in the world is happening.
Lupe Fiasco: Well, it’s a little deeper than that; it’s the grotesque standing next to the beauty and they interchange, and it’s really meant as a vehicle of hip-hop. To me, if hip-hop was a car it would be a Benz sitting on 24s, Rock & Roll would be an old school Cadillac from the `50s, Opera’s car would be a long old fashioned car from the `20s, but hip-hop would be a Benz on `24s and that’s the vehicle conveyed in that third verse. Everything that I talked about, or something that’s real ill or going on in the world and has a certain level of grotesqueness to it. So, Food & Liquor was about balance, it was about the good and the bad. So you got this Benz and it’s clean and da-da-da, and on the inside you have all this vice and nonsense, and that’s the theme I tried to carry throughout the album. It pops up in certain themes throughout the album. There was another song that we didn’t get a chance to put on the album that was called the “Pills”, which came out on this MTV My Block Compilation and that song kind of personified the ills of the world standing next to the beauties of the world.

“To be in the same ranks as like Al Gore and Leonardo DiCaprio and people like that…”

Format: Right now, you say hip-hop looks like a Benz with 24s, if you had your ideal vehicle of what you want hip-hop to look like, what would it be?
Lupe Fiasco: A Delorean!

Format: For the people that don’t know what a Delorean is, can you explain?
Fiasco: The car from Back to the Future! Nah, but really, it would be a bus that one person drove. There wasn’t nothing spectacular about it, but it got you from point A to point B and encompassed all the strife and struggles of everybody. So you get on the bus in Midtown Manhattan and you have someone from every culture and every walk of life – from the bum to the executives – getting them to where they need to be. That’s what hip-hop should be. Hip-hop should be a vehicle for the masses not ostracized, not derogatory where it’s breaking people down. It should just be something that’s open for everybody to communicate from people within – like public transit.

Format: If hip-hop was more challenging and competitive, lyrically, and was a bus that could pick up everybody, do you think you would have made the statement about making three albums and retiring, because of everything you see inside the Benz?
Lupe Fiasco: I’m doing three and I’m done. It’s always about the tri-fecta. B.I.G. was only going to do three: Ready to Die, Life After Death, and Born Again, if he had lived to do Born Again, and for me that’s the same kind of route that I’m following. I don’t think I have that much to say. I don’t want to do the same thing twice and I’ve done a lot of songs talking about a lot of things, so it’s kind of running out of things for me to talk about. When Jay did “What More Can I Say,” people were like, “How can you say there’s nothing else to say, there always something else to say!” It gets to a point where the things you want to talk about and the things that inspire you to talk, you’ve already talked about them, and you don’t want to seem redundant, and you don’t want to seem like your beating a dead horse.

“I’m doing three and I’m done. It’s always about the tri-fecta. B.I.G. was only going to do three…”

Format: That’s weird, because look at rappers like Little Brother and Phonte, it is like they’re getting to the point of not being able to talk about anything else.
Lupe Fiasco: You get bored I mean look at Mos Def, he sounds bored and I love Mos Def, and it’s not speaking down on him, but you can see once you talk about the message so much. You can take it outside the context of hip-hop. You look at people like Noam Chomsky or Malcolm X, their message didn’t change. Once you heard one speech you heard them all, because they talked about the same things, because it was the same problems and the same solutions. It was addressing it to a different audience so some more people could hear about it, but the base message was the same.

Format: Do you think you will take it to another level, because you’ve done the hip-hop thing, will you travel to another venue?
Lupe Fiasco: Maybe, that’s the good thing with music, there is so much variation and so much to do if you just open your mind and allow yourself to. I’m always a businessman so I have to know that there is a venue to do it and a market for it. I’m not going to do it like, “I just wanna do something crazy!!!” because I know it takes a lot of time, a lot of sacrifice and a lot of money. I want to make sure when I do it and go out on that limb that it’s necessary.

Format: Let’s do a little best and worst of `06. Best and worst moment for Lupe in `06?
Lupe Fiasco: The leak and the leak!

Format: The hottest sneaker of `06?
Lupe Fiasco: The illest sneaker of `06 is still the John Lenin Chuck Taylor, which, actually, came out in 2004. I have a pair on my feet right now and they’re still crushing everything in the world.

Format: Currently, how large is your sneaker collection?
Lupe Fiasco: My collection kind of tapered off, because of the Reebok deal, so I couldn’t go out and buy Nike or any other brand, so I’m actually done and I’m reverting back from Chuck Taylors. I think I’ll be wearing Chuck Taylors for the rest of my life.

Format: Illest toy of `06?
Lupe Fiasco: Illest toy of `06 is the Futura X UNKL collaboration with 360 Toys, [it] was fresh as hell.

Format: Ps3, Wii or XBOX?
Lupe Fiasco: Wii.Virtual console you can download all the Turbo Graphic 16 games and that’s all I want, if I can get a Turbo Graphic 16 that’s all I would play. Just Blaze is being stingy and won’t give me the mod for his.

Format: You may have upped Nintendo’s market. They’re about to have a good Christmas!
Lupe Fiasco: I love Nintendo we have a working relationship. They show me a lot of love and I show it back.

Format: Last time you’ve skated?
Lupe Fiasco: Whenever I’m at home. I find myself skating in my basement because that’s where the studio is and there is a little nasty, ratty skateboard and I always find myself perfecting my kick-flip.

Format: What goals do you have for 2007?
Lupe Fiasco: I don’t know what I want to do, man. This year has been spectacular and I’ve been debating about trying to go hard to win the Nobel Peace Prize. You have to put out all that action from the album and put it out in the world.

More Info: http://www.lupefiasco.com

In a materialistic industry, where most brands idea of “getting political” is screen-printing a graphic tee covering whatever the latest news issue is—primarily for shock value and hype, not because of any true desire for positive change—Scifen is a refreshing alternative. Created in 1999 by Barmak Badaei, Scifen fuses hip-hop, graffiti, and the pursuit of knowledge into their designs, offering both substance and Read more »

At 26, M.W.M. is balancing his career, wife and child, long-time graffiti ties and his bottom line: bills, bills, bills! Like Clark Kent, M.W.M. is a suit-and-tie-type by day, working as artistic director for an advertising agency in Maine, but by nightfall, M.W.M. tosses his Hager button-up on the floor to slide the comfort of a logo tee over his torso and BANG – the mundane Clark Kent-type tosses cubical politics out the window and transforms into a creative superhero, a superhero that fills pages with colors and gives shape to lines.

With a pocket full of monikers and years of industry experience, M.W.M. anticipates each new project like it was his first, only with each project attempt M.W.M. creates something better.

Format: Explain the opportunities, education and experiences that played a role in shaping your existing career.
M.W.M.: I would like to think that I have a few different careers. I have a day job – I work as an art director in advertising, which essentially keeps the lights on and I guess that education is different than the one that put me where I am with my personal work. I went to a few different art schools and studied design and illustration, and graduated with a BFA in design, which most definitely helped me get into the commercial design world. And, I was really fortunate [in] coming up, to have a lot of talented and positive people around me, too. Most of them were artists and graffiti kids, too. That really inspired me to be kind of where I’m at now with my personal work. Fortunately, in the last couple years the two have been over lapping and I’ve been doing some commercial work that’s like the type of work I like to do, my personal work – my day job is really corporate stuff that isn’t exactly what I want to be doing.

Format: What school did you study at?
M.W.M.: I went to a couple. I studied at Rhode Island School of Design and Savannah College of Art and Design for a few semesters and then I finished up my education at Maine College of Art.

Format: Who are some of the mentors you have?
M.W.M.: The most important figure in the graffiti and fine art is this dude named CEMEK, he’s been like a big brother to me for many years. He was the first one to bring me into the yards and teach me the dos and don’ts, and the codes to follow in regards to painting graffiti and whatnot. Also for a number of years I’ve been around some other great artists, too many to name, but JURNE and LERK in particular, also my friend, PAST, pretty much my whole crew that I paint with – WUT and it’s a Maine-based freight train crew.

Format: How has writing REONE helped you with graphic design?
M.W.M.: To give the prelude in how I became writing REONE, I started out writing RETROSPECT when I was 13 and it was a lot a letters, and that was abbreviated to RETRO. Soon I learned there was a RETRO in California and I didn’t want to start any beef like that, and it was down to REONE. That’s what I’ve been rockin’ for a number of years now. To answer the question on how graffiti has enhanced and informed my graphic design and my fine art, there are so many answers to it; working in such a free form, working so large and fast, having to be deliberate, and stand behind decisions that I make when I paint has influenced my whole approach and process to the other disciplines of art and design that I pursue. It’s kind of like more so than what lands up on the paper, on the wall or on the canvas it goes deeper into my process of conceiving an idea and then executing it. I try to work very fast in whatever work I’m doing and I like to stick by decisions that I’ve made and keep moving with it rather than noodling around and being fickle. A lot of my artwork has very strong graffiti influences and likewise I like to think that my graffiti very strong contemporary graphic influences as well. I’m getting to be known as the dot guy – kind of like aborigine art – because I have this fondness for using a lot of dots to imply lines and shapes.

Format: Have you been pinched for graffiti?
M.W.M.: Only once when I was in high school and it ended up evaporating. I’ve been very fortunate and I’m not as high profile as a lot of other writers that I know, in that I don’t go out and crush real hard, I’m pretty picky about the spots that I paint. I’m at the point in my life that it’s more important to do more deliberate, quality pieces than paint numbers.

Format: How do writers perceive you when they find out you’re a graphic designer?
M.W.M.: The really core-graffiti community is an interesting bunch. There’s definitely a lot of positive people and people that I admire. Also, inherently within the community, unfortunately, there are a lot of haters, which I’m sure comes as no surprise. I would say 90 per cent of the time a lot of writers have genuine respect for what I’m doing and they know that I’m keeping it real, too, I’m not a paperboy with my black book, I get out there and do things. I got a couple people that hate, but the irony to it is that if I wasn’t doing gallery shows and freelance design for rad companies and whatnot, they wouldn’t have anything against me. I’ve wanted to be a graphic designer since before I paid attention to graffiti, I knew that visual vocabulary was what I’m here for – that’s why I’m alive – so if my style and my vision can transcend between different disciplines than I think that’s even stronger.

Format: You have been featured in several art shows across America and you do live painting, too. Can you explain how it feels to have several pairs of eyes watching you paint?
M.W.M.: I’m not a natural live painter, I had to have a number of drinks before I felt loose the first time I did live painting. I think there are some artists that are just born to do that type of stuff and interact with the crowd; I’m more of a solo dog.

Format: You’re extremely pro-active in getting your product out while several artists are introverted, what feeds your thirst?
M.W.M.: There are a few reasons. Living in Maine I’m off the grid and I like that, I especially like that, because it’s so easy to be in touch with people these days with technology the way it is. I’m really not the dude out at the bar every night! My reaching out to people and organizing things comes from wanting to be a part of more and facilitate opportunities for similar people to be part of something bigger, especially with the Wall Spankers Project, because it’s gained so much momentum that it is kind of its own living thing now.

Format: Who are Wall Spankers?
M.W.M.: As far as the actual curator, website work and putting the zines together and getting the stickers printed and whatnot is all me at this point. I’ve had a number of huge contributions of images and a lot of help with printing and screen-printing. It wouldn’t have been possible without the contributions of all of the members. It’s pretty much my little side project and it’s really a pleasure to be putting stuff out there and having so many people see it and offering exposure to so many artists around the world.

Format: Wall Spankers artists come from all over the world, are there any obvious influences in their art given their geographical location?
M.W.M.: That’s something I think about quite often and there’re definitely some, and a lot of the time I will pickup on subtle hints on whether someone is urban or rural, or European or from Thailand or South Africa, but even more so than that, I realize more and more how simple art and design like stickers, whether it’s cartoon-ish or very graphic – it’s kind of a universal language. Some kid from Minnesota could rock a piece and put it next to somebody from Barbados and they could have totally different styles, but different in a great way. It just goes to show that contemporary artists and contemporary designers are part of something bigger than their immediate context.

Format: Explain what effect pop culture, news, music or any other sources have on you when creating a typeface.
M.W.M.: The early typeface that I did, I did one called Xacto and that was straight up trying to use very minimal shapes like x-acto knife blades I wanted to see if I could completely blow out a whole typeface that actually worked. And then I did the typeface called Crenshaw, which was very much inspired by scrawl, tall letter graffiti from Southern California, kind of one-line, straight angles, really sharp. I don’t think I jocked any letterforms, but the letter-feel is reminiscent of that. My most recent letterform exploration is a project called Alphafont and that one took me a while. I was trying to make funky letterforms of each letter – it was kind of graffiti styled and different, kind of weird ways of putting the letters together. That was really fun. A lot of the letterforms were letters that I had developed over the year for my own work.

Format: Explain your process for the Black & White Bangers One.
M.W.M.: That was the beginning and I hope 50 years from now I’m releasing Black & White Bangers 53. It was winter 2005 and I wanted to set-up, the name Bangers came from black and white – I’ve always loved working in pencil and Sharpies, because it’s super fun, quick and really bold. But the name Bangers came from the idea that I wanted to do a project that I spend a short amount of time on something that was really loud, bang them out, turn them out one at a time, just stack `em up. With my work schedule, at the time, I only had an hour or two each night that I could devote towards it. It was really satisfying to be able to do one or two pieces and finish them in the same day. That whole project was about simple narrative, funny, witty stories that are kind of autobiographical. I turned them into stickers and made thousands of those stickers and spanked them up everywhere that I’ve traveled in the last few years.

Format: An Uzi, limousine and ghetto blaster are a few of the interesting vector-based images you used for 52 Icons. Explain how that project formed.
M.W.M.: That was a narrative project that I made for myself. I originally wanted to do a set of tarot cards, because I’m very much into the deep history of symbols and icons, and what happens when you combine symbols and graphic languages. I was planning to do a set of tarot cards, but as I was working on it I realized it would make a better poker deck. I very much enjoy doing vector illustrations – those are very quick, as well – and I wanted to make a collective series of work that rang out a line of cards that you could either make a story out of, or you could tell a story with them. I’ve said many times before that I could tell the story of my life with those cards if I laid them out in the right sequence – there aren’t many limousines in my life these days, but hopefully in the near future!

Format: Painting cans of spray paint, is that something you do often?
M.W.M.: That series was inspired by circumstance – one of the first rules I learned in the graffiti game was leave no trace other than the mural, obviously, but we always made sure that we would take all our cans with us. Over the course of a summer, a few years ago, I just had boxes and boxes of cans full of empty cans and I wanted to get rid of them, but I was nervous that my landlord would be like, “Why the fuck are there 400 spray paint cans out here?” So I started painting them and I really liked it, I built a little cardboard jig so that I could be painting on side while the other side dried. I got way into it and it was the first time in my personal studio that I did work that was not two-dimensional, it was a three-dimensional thing. The design wraps all the way around and it was a neat surface to work on and a neat morsel for somebody’s bookshelf or cubical zone.

Format: The number 23, Michael Jordan, Art Bureau Calendar – how did that come together?
M.W.M.: That was fun! Burt Benson who runs Art Bureau, we’ve had a number of correspondence back and fourth and he recently interviewed me about Wall Spankers and he invited me to design a day for their next calendar and he was like, ‘Why don’t you take the 23rd?’ and I was like snap! I had to get Jordan in there somehow, because the number 23 had to work into the actually piece itself so I did Jordan’s epic dunk.

Format: You like women, duh, let’s talk about Get Realistic, why Gwen, MJB and Audrey Tautou?
M.W.M.: That was a big step for me with my own personal work, because I’ve always struggled doing realistic work in painting and drawing. I decided years ago that it wasn’t my thing and that I wouldn’t pursue it or try to get good at it, but I’ve always had this desire to see how far I could push it or grow. And, I was working tenaciously on the Black & White Bangers Three book, everyday for the last month and a half or two months and I am really excited about the project it’s a lot different and I think it’s more mature than my other illustrations. It gets to the point where I run out of signs, symbols, shapes and metaphoric icons, and I really wanted to do something that I’ve never done before and I kind of decided to do a series of pop singers, Christina Aguilera, Beyonce and there’s nothing more fun to draw if you’re going to be drawing people. My wife wasn’t too excited at first, but she understood that I wouldn’t have a great time drawing dudes.

Format: In your blog you mention your wife and vaguely touch on how she has affected your art, can you expand on that?
M.W.M.: Back in 2003, I was traveling a lot and partying a lot; I wasn’t in the best place. I met her and I really crushed on her from the jump, she’s a great girl and really helped me get my mind back on track, get focused and put my priorities back towards my art and live positive. Ever since then there is no limit. I’m having a blast working real hard and having a lot of fun. She’s most definitely in my art and mindset, too. I’ve been a happier man since I met her. We have a son, too, my stepson, his name is Malachi, he’s five-years-old and he’s been the biggest inspiration in my life, as well, for sure.

Format: Your artist statement is, “I live to create,” if you could not create what would you do?
M.W.M.: The reason why my artist statement is “I live to create” is simply in the fine art world artists are always trying to sum up their momentum and their drive into these really wordy statements. I’ve had a number of artist statements that tried to explain who I am and why I do what I do, but I just wanted to make a really short, punctual artist statement that’s like a tagline instead of a full brief of who I am as an artist. If I couldn’t create I think I’d have to sell a lot of shit! I’d just have to be in business, I’d just have to make a lot of money! I’m very much driven by success and productivity.

Format: What’s Knuckle Sandwich Press?
M.W.M.: It’s like the saying a dollar and a dream, but it’s like a nickel and dream! Well, let’s rewind for a second, Knuckle Sandwich Press is very much like Wall Spankers, I made the name before it was anything and since I self-publish my own books it just seemed natural to have a name on the projects that I was producing. I knew the exposure that I was receiving and having a name attached to it would be to my benefit later on, and it has been. I don’t have a printing press or anything like that, I hope to one day, but it’s the production label that’s on the Wall Spankers Project when it is printed. I hope to one day promote other artists’ solo books, too. WS:1234 will drop next summer on Knuckle Sandwich Press.

Format: What are you coming out with in 2007?
M.W.M.: I’m going to be releasing two books in February, Black & White Bangers Three and Vector Funk Two, which is a book of color works. Bangers Three is going to be 60 illustrations all done by hand, no digital work at all, it’s ink washes and black and white ink, I’m really excited about it. Vector Funk Two is a series of super intricate computer illustrations that are bananas with colors, super vibrant. Both will be available on my websites.

More Info: http://www.mwmgraphics.com