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When I think of “tattoo,” the image I picture in my head immediately is the American traditional style of tattooing. For others, it could be the “basic-bro-Chicano-black-and-grey” look; it really depends on one’s taste and inclinations. My personal bias comes from a random photo I found on Google when I was in high school. It was of a young lady wearing a white v-neck tee and black skinny jeans and adorned with a full American traditional arm sleeve. I wanted to be her when I grew up. To me, that was the quintessential “tattooed look.”   American traditional has a rich history. It began with sailors who got tattoos as mementos of their journey to the great tattoo cultures of Japan, China, and the Pacific Islands. During WWII, a former Navy man named Norman 'Sailor Jerry' Collins refined these designs and changed the world of tattooing. Being the first Westerner to learn from Japanese tattoo masters, Sailor Jerry created a new style with his American sensibilities, technique, and innovative nature. This is why Japanese and American traditional are very similar in style, characterized by bold lines, iconic imagery, and lots of black. From L to R: Los Carlos, Paul Belciña, and Rheed Lauronilla   Knowing the history, it’s amazing how American traditional tattooing reaching our shores feels like a full-circle moment. I sat down with three Cebu-based tattoo artists whose specialties include American traditional.   Paul Belciña has been professionally tattooing for eight years now, and yet, he's still picking up new tricks. During his days off, you can find him out on the streets with his precious Fujifilm X-E3 in hand, capturing the world from his perspective. His hobby of street photography keeps his creative juices flowing and ensures he doesn't get too comfortable. He shares, “This balance between tattooing and photography fuels my passion for art in all its forms.” Paul and his tattoo works   Rheed Lauronilla made the leap to full-time tattooing in 2017. But his journey began in 2007, when he bought a "real" tattoo machine to dabble in his off-hours. Back then, he was working at a casual dining restaurant in Cebu, tinkering with a homemade tattoo machine crafted from a VHS tape rewinder dynamo. For Rheed, tattooing is a unique therapy—like “having the license to stab someone”—his words, not mine. The thrill of creating painful masterpieces on living canvases pushed him to leave his shift manager gig at the restaurant and follow his passion. When he's not tattooing, you can find Rheed camping, on his fixie, or enjoying other adventures. Rheed and his tattoo works Los Carlos is a man of many interests and experiences: from contact sports and cycling to toys and comics to fashion and pickleball (his current obsession). But what has remained constant his entire life since childhood is drawing. He pivoted from being a fashion designer and owning physical stores in two of the city’s malls to being a tattoo artist during the pandemic in 2021. He may be new to the game, but he’s been an illustrator his entire life, he’s a nerd who knows his tattoo machines (don’t call them guns, please) and watches nearly 2-hour long Waboripedia episodes on YouTube for fun. Carlos and his tattoo works   Let’s see what this intriguing line-up of tattoo artists have to say.   How or where did your love for American traditional begin?   Paul : I became drawn to this kind of tattoo style when I started following and listening to metal and hardcore bands. I noticed the bands and its community often have bright and bold tattoo designs.   Rheed : College days; I like punk rock bands and skateboarding, so didto nga scenes mostly naay traditional tattoo. But my first love was Oriental style because of its symbolic significance. Tattoo magazines at the time also were the best and only reference, and most of the designs were American traditional.   Los Carlos : My wife. She got them first and the style grew on me. It perfectly matches with how I illustrate: bold lines, simple figures, bold colors.   What are your favorite flash designs to tattoo?   Paul : I love doing traditional designs in general, not just American but also Japanese and their ‘neo’ variants, especially those with floral elements.   Rheed : Black works and black and red traditional tattoo kay maldito kaayo tan-awon.   Los Carlos : A rose, a skull, and a snake head L to R: Works by Paul, Los Carlos, and, Rheed   Because it has a distinct look, how challenging is it to create your own style? Or is that even an objective for you?   Paul : It involves study, research, and constant practice. To apply my style, I have to re-draw most of the parts and incorporate my accumulated knowledge from various inspirations to create my own unique designs.   Rheed : I enjoy tattooing bold and solid lines. Until now, I'm still learning and studying for my own style. Kinahanglan kaayo pasensya ang solid lines in tattooing. Sometimes if the client has a design ready, I sometimes suggest that we can do it in a traditional style, especially if the client is a tattoo collector.   Los Carlos : I wouldn’t say it’s easy, but it’s not that hard once you get the basics down. There’s a certain approach to American traditional, wherein if you just follow the rules, you can have your own style. As an objective, of course, in every tattoo that I do, I try to find my own voice even in what is perceived as traditional.   Ideally, it would be amazing to exclusively do American traditional, right? But is it the case realistically? If so, great. If not, do you think Cebu will catch up in terms of increasing interest in the style?   Paul : Exclusively doing American traditional tattoos? No, at least for me. However, I sometimes incorporate traditional elements into other designs. Creating traditional tattoos feeds my soul, while the others pay the bills.😉 I don't think traditional tattoos will gain widespread marketability in Cebu City, not in the near future. However, I’m grateful for the small number of clients who have an interest in traditional tattoos.   Rheed : Yes puhon, if I'll be a professional tattoo artist or padong nako retire, old school all the way exclusively. As of now, dapat open pa kaayo ko mo try sa lain tattoo style and techniques para makat-on. Cebu has a lot of very talented tattooists, nga mga bangiitan sa nagkadaiyang nga estilo, daghan na kaayo og options ang Cebuano. And for me it's good, American traditional or the old school style is not for everyone.   Los Carlos : Well, I always like a bit of variety since I also do a lot of Japanese traditional. I always like to do both because there are days when I prefer to do something quick, bold, and bright. And there are days when the complexity and scale of Japanese is more to my liking. I can’t really say I love one more than the other because it’s like two sides of the same coin and the coin is me. As for Cebu, it’s always possible. The style will always be there since it is traditional; it heals well and stands the test of time. I believe with more exposure to the internet and everything else, American traditional will come around. I’ve been doing it since I’ve started tattooing. I feel like there’s a lot of it now and it will just continue to grow from here.   Who are the top 3 tattoo artists you look up to or are influenced by?   Paul : Yoshihito Nakano, Shigenori Iwasaki, Myke Chambers   Rheed : As of now, William Taylor, Steen Jones, and Marta Montero   Los Carlos : Myke Chambers, Chris Garver, and Kiyo     We can’t impose American traditional on people, but why should they get it? 😂   Paul : They should get one because it's cool! If you want to feel and look cool, then a traditional tattoo is the way to go! That’s it.   Rheed : Yes, I can't impose any tattoo style on my client, specifically American traditional, because it's only for the people with bold and solid hearts. But people should get it because it is timeless.   Los Carlos : It heals well and stands the test of time. It’s a classic look; it’s traditional and everyone can wear it. There’s always something for everyone in it. If it suits you, get some. It’s bold, bright, and simple. Why not?     So to answer my question if American traditional is a thing here in Cebu, I would say, it could be. Many love it, for sure, but it’s not popular enough for Cebu to claim that we have a community for it here. But it’s fine. We grow. Meanwhile, let’s get some American or Japanese traditional tattoos.   Make sure to follow the tattoo artists featured in this article and continue to support your other local artists! All photos taken from the artists' personal archives. Shout out to Paul, Rheed, and Los Carlos! Check out the upcoming Savage Ink International Tattoo Convention this September 14-15, 2024 at the Fili Hotel - Nustar Cebu featuring around 200 participating local and international artists, including judges and guests from around the globe, including the Philippines, Japan, Vietnam, Taiwan, Thailand, South Korea, France, USA, UK, Sweden, Switzerland, Malaysia, Indonesia, Australia, Italy, and Poland. The event will feature a car and motor show and Artist Alley, where aspiring and professional artists can display their works for sale. The convention is thrilled to announce Dice & K9 (Saturday, September 14), Typecast, and Shvriken (Sunday, September 15) as the main musical acts plus more local acts.

Art in the City features local art exhibits around Cebu showcasing the works of Cebuano artists and art students. We’re shining the spotlight on these talented individuals who are slowly making waves in Cebu’s art scene. August just started and we’'ve already had some awesome shows around Cebu. Here are some photos from the different exhibits around town. RIVERS AND ROADS: A Solo Exhibit by Vince Aaron 'Binsoy" Omega The artist known as Binsoy has had his works been included in different group exhibitions in Cebu, Dumaguete, Manila, and Bangkok, Thailand plus two previous Solo exhibitions: So Far at Studio 201 Gallery (2022) and Pu-ol at Ahka Space (2023). According to Binsoy, “Rivers and Roads” talks about ephemerality of social bonds, goodbyes and hellos, and how individuals should/can actively choose to maintain or detach their ties with people around them.  In his artist statement, Binsoy describes the exhibit emotionally and eloquently as a celebration. A memorial of not just remembering names but how people used to feel when the heard it. It is an homage to years of finding and losing, meeting and forgetting. "The rush and bustle of life got the best of me - or maybe it was necessary. Juggling between survival, passion, and meaning. I was finding the time, and I got lost in it. This is to new beginnings and accepting the impermanence and ephemerality of connections. To “moving out”, goodbyes, and hellos.  To friends, “hi!” we used to talk until we didn’t. To reconnection. To waiting." Catch @thebinsoy Rivers and Roads until the end of August at Misfits Coffee (@misfitscoffeeph). Photos from Binsoy EMBRACING THE WAIT: A Solo Exhibit by Kim Hee Jung Last August 10 - 18 at the Ayala Malls Central Bloc, Korean artist Kim Hee Jung had her solo art exhibit entitled "Embracing The Wait". Jung graduated from the Art and Design Department of Kyung Hee University in Seoul, South Korea and took a Master’s degree at the Graduate School of Education at the same university. She manages an Art Academy - Cebu Grigo Art and facilitates Philippine - Korean Art Group in Cebu. Through the hanbok girl and the cat, the artist reflected cultural heritage and independence. Having moved from South Korea to the Philippines nearly a decade ago, she has navigated challenges with determination and grace, much like a cactus thriving in uncertainty. Her work celebrates precious moments and cherished relationships, embodying hope and resilience. Along the way, her family and she have come to love the Philippines, finding joy and connection in their new home. This journey is beautifully captured in her art. Follow Kim Hee Jung on IG @kart_incebu and Cebu Grigo Art on FB here . Photos from Kim Hee Jung MASIDLAKON (Vibrant Patterns) From August 8 to November 7, 2024, Filipino Art PH in partnership with Bintana Coffee House present a pop-up art display entitled "Masidlakon" or Vibrant Patterns. The exhibit features acrylic and watercolor paintings by local artists Diane Ortiz, Peter Bruce, Ana Fe Ruiz, and Pia Joy Bohol-Salar. These Cebu City-based artists reimagined their beloved hometown in pieces showcasing abstract art while paying tribute to the Queen City of the South's distinctive culture, gastronomy, and mise en scène. "Masidlakon" is truly a celebration of Cebu City's vibrant everyday life captured through unique colors and patterns by these talented local artists who offer us a glimpse of their deep personal connection with the CIty's spirit. Don't miss out on this wonderful exhibit at Bintana C offee House , a restaurant and cafe that actively supports arts and other creative endeavors in Cebu City. Photos from Bintana Coffee House Archives.

In the past decade, high-budget, blockbuster AAA-classification games have been dominating the industry with their performances in the market. For years MMORPGs (massively multiplayer online role-playing game) and big First-Person Shooter (FPS) titles have called the shot but in recent years, independent game developers have emerged with their projects, turning the heads of the arena with every clutch of a round. Indie game developers continue to push the boundaries of the industry, distributing games on digital storefronts like Steam, Itch.io , or the Epic Games Store. Despite their limited sources and funding, the increasing popularity of these games continue to buff the industry beyond its defined code - unlocking a new frontier for creative democratization.  The local game scene has played its remarkable feats with its recent projects. With the rise of game development courses in local IT colleges over the years, could this loadout carry the innovative raid? Or is the Filo -lobby typing GGs in the chat with this attempt? Capriccioso Games Studio Capriccioso Games Studio, a team of passionate developers located in Cebu City, has been developing games for at least more than a year now, specializing in a full-cycle Unity game engine. The talented team of artists, developers, and designers, work seamlessly together in transforming concepts to reality using Aseprite and Blender.  Junn Dobit Paras, a certified Unity programmer and co-founder, has been developing games on the back-end for at least 3 years now. The team has grown from gaming together in their early years to starting their own studio in college and developing their own games with the hope for more prominent game studios in the local scene who are equivalent to triple A companies.  “ It is a growing industry, the studios here have so much untapped potential, ” Ashley Turla is a 4th year student in University of San Carlos-Talamban Campus from DCISM (Department of Computer Science, Information, and Mathematics) and an intern at Capriccioso Games Studio. Turla’s experience in programming has allowed her to work on different projects with her team at Capriccioso Games Studio.  “I think video games have always been an influential medium for creativity , whether it's game mechanics, its story, or its art design.  Take for instance Pacman, where its characters may just be sprites but you can see its cute designs. Or how about its game mechanics, where pacman has to eat the pellets without getting captured by the ghosts? Back then, that would be known as the peak of creativity because no one has seen something like that before.  Of course, nowadays we have games with stylized or realistic graphics that can capture the audience's eyes, or stories that tug on people's heartstrings. But videogames has always been an outlet for creativity , it's just that people have now easier access to create their game's vision,”  The team’s projects, whether it would be outsourcing or inhouse, require Game Design documentation in organizing the early stages of conceptualization. Websites such as Kickstarter and Patreon allow for easier crowdfunding. A 2D platformer would still require a significant amount of resources for production, needing to obtain the necessary amount for funding before finding a publisher who would have to take the chance at the project.  Their recent project Haphazard Angel, is to be released on Steam and to be showcased in the national convention Philippine Game Expo (PDGX). The online multiplayer and co-op requires the coordination of up to four players, who will be controlling each of the four wings of the angel.  “The very first important challenge of an indie game developer is actually finishing a game,” Their interpretation of biblically accurate angels moves away from traditional depictions, much like how many video games carve out their own unique identities and genres. The team consistently challenges themselves with each project, striving to steadily expand and establish themselves as a game studio on the rise.  “There isn't really a push for game devs here in the Philippines. But it would be my hope to see more game dev companies or indie game devs taking a chance on the game development industry,” Lawrence Craig "Benz" Ramas and Robert Espina  “We're not aware of any independent game studios that have launched their own games and become successful on the international scene, so there's a huge potential and many opportunities awaiting to be claimed ,” Robert Espina is the publisher and founder of the game FlagDashers. His two years of game-development experience and being in the startup scene for five years has allowed him to showcase his creativity through programming.  “As a casual gamer, you might notice how games today offer more immersive experiences, with rich narratives and stunning visuals, compared to the simpler, more straightforward games of the past. This shift reflects how the medium has matured, becoming a platform for diverse and creative content that appeals to a wide audience ,” Lawrence Craig "Benz" Ramas, is the co-founder and UX designer of the game FlagDashers. With the four years of being a UX Designer under his belt, he counts this as the first time being a part in developing a game, a pivot from designing websites.   “ Actually me and [co-developer] Robert already had this plan during the pandemic. It's just that we don't have enough experience to enter gaming development. But what really inspires us is we are gamers and we want a fun game of our own so we built one ,” The duo have been taking on the challenges of being independent game developers for close to two years but have been in the startup scene for five. Whenever they have ideas, grooming sessions ensure that the idea is viable by breaking down smaller tasks to achieve the bigger picture.  “ We casually huddle to brainstorm and get in sync. We don’t have a proper tracker or task management. We’re basically scrappy at this point and we are trying to ship it as soon as possible. But we just need to be responsible with our tasks .” Like any dev team, agile development and productivity tools like Figma and Linear/Jira help keep track of their tasks. The primary programming language used is Typescript, with frameworks like PhaserJS and ElectronJS to build their applications on desktop. In this increasingly competitive market, one of the main challenges is to make a marketable but fun game.   “ You got to make your game fun enough to get noticed ,” Their recent project is Flag Dashers, a multiplayer battle where players can participate in 1v1 or 3v3 fights in a game to capture the flag. The game's early-access version is now available to play on Steam.     “I think the demand and passion of the fans are what drive it to grow and improve,” Espina and Ramas aim to create the most enjoyable and engaging experience for their players through a collaborative process with their community to get constructive feedback for enhancing the game’s features and gameplay. According to them, the valuable feedback from players will help the team fine-tune gameplay, expand the hero pool, and ensure every aspect of the game meets the expectations of their target audience.  “ I hope it stays a non-zero-sum game and that everyone gets a fair shot at making it profitable ,”  The race to bring the flag home has the team fighting for their visibility in the market, with the number of games being released on the daily in digital storefronts. The goal to stand out and get noticed by other players outrun the increasing difficulty of every step, capturing the flag in a dash to local recognition.  “ We’re aiming to be a globally recognized indie studio ,” Kevin Joseff Cabrera “ I think that videogames have always been a medium for creativity since then . Imagine working around the limitations of an old generation console and trying to build games like Zelda, Contra, Super Mario, Pacman,and other fun games with a computer that has roughly 2mb of memory - that's like painting a portrait with only 3-4 colors available. What DID change though, is the rise of the internet over the years, and with it includes the immersion of more people into the Game Development industry.  The young players of the old classics are now the ones to build their own games inspired by them. I  think that is where the artform really lies.” Kevin Joseff Cabrera or ‘KJ’, has been developing games independently for two years, learning it in his spare time as a hobby. From wanting to figure out how games were made, he eventually thought he could go create his own.  “It's also one of the main reasons that I went into software engineering, and I believe many of us do also do it for that reason  if it's not for the love of robots or money ,” Cabrera mainly uses Unity and C# to develop these games, focusing on small 2D games that can be enjoyed for a short while, like popular arcade games long ago. While Unity does also support 3D games, 2D ones are easier to learn and finish as hobby projects or practice runs.  “At first I must admit I just jumped into developing the game without proper planning. To me, the more I feel like I'm doing in my project, the more "progress" I'm already making.  In plotting out the kind of classes and in-game objects needed to make the game work, Cabrera creates repositories in Github to keep track of his latest commitments or changes to that project. This is also applied when he would want to implement patterns like singletons or object factories, the revision history allows him to revisit it as well on a later date as well as assist if there would be a mismanage.  “Now that I've had experience in software development, I first make rough notes in a notebook about the overall kind of game that I'm making, including the assets that I need to have and the flow of the gameplay,” Cabrera is in the early stages of making his first 2D puzzle-platformer, taking inspiration from La Mulana, an archaeology-adventure platformer . In the meantime, players can challenge themselves with Spykeball , Cabrera’s infinite volleyballer available at Itch.IO , a website for users to host, sell and download video games. International influence continues to set the ball for the local serve, but where does this leave Filipinos in an industry if not for the recognition?  “ It's unquestionable that we Filipinos do have some of the most creative & skilled people available, but there are so very few opportunities within the game industry here and very limited careers as well ,” As we witness the emergence of independent games, developers will have to go head-to-head with the ever-competitive economic challenges the local scene continues to face as the industry is still not fully recognized by the government.    “ You'd be extremely lucky to have a stable career within a game company that's outside the country; most game dev careers here rely either as hobby projects or freelance work. Maybe someday someone decides to invest more in establishing a game company within the Philippines, but right now that is a pipe dream ,”  The decision between practicality vs. passion has been the standard boss fight for any local game developer. As most hobbies and freelance work encounter, time and money are critical to the grind, as one gaining ‘XP’ will not be enough to sustain a stable career.   “The same can be said with game development - building an indie team that can forego the needs of time, and money is the biggest hurdle,” Solo-leveling becomes an opt for most indie game developers, but it still leaves them in the position to sacrifice money or a career to go full-time in making games in their spare time. Playing in an open-world still requires its mechanics, just as how the field requires a strategy like any other game.  “Unless we do get more businesses to invest in the game industry in the country, then these talents will still most likely rely on outside companies for their careers,” Cebu is just starting to harness the untapped socio-economic potential for indie game developers, whose passion breaks the local lag, demonstrating the limitless possibilities of accessible technology. When it comes to leveling up in the south, creators continue to surmount the different challenges, min-maxing and setting each milestone as a checkpoint. Players that transcend from local compshops to gunning for a shot in the industry aim high to make a name for themselves.  This  underscores the determination of a force in the system ready to  K.O. competition, not only to be dealt, but to be reckoned with.

Art in the City features local art exhibits around Cebu showcasing the works of Cebuano artists and art students. We’re shining the spotlight on these talented individuals who are slowly making waves in Cebu’s art scene. May - June 2024 were a busy couple of months and we’re sharing some photos from the different exhibits around town. WE ARE JUAN: A Benefit Art Show for Wyndelle @ Qube Gallery The show was organized to support the artist behind Ar+gaw and Studio 201 Gallery, Wyndelle Remonde. (Read about his journey here ) . Held at Qube Gallery, 100% of the proceeds went to the medical expenses of Wyndelle, who is one of Cebu’s low-key but very prolific contemporary artists. The initiative was organized by his fellow Cebuano artists: KDLT, John Villoria, G.I. Pongase, Binsoy, Astraberry, and more! You can still check out some of the pieces here . Show your support for Juan Carabao! Check out Black*Press’s IG and FB pages for more upcoming benefit events near you. Photos from Qube Gallery Archives. Shout out to Pia Mercado for sharing this album. DAYBREAK @ The Tea & Gallery Daybreak is a group show by 7 young Cebuano artists: Kurt William, Cliff Honoridez, Franz Biñan, A.B., Juana Luisa, and Dijan Comendador. It is a showcase of these artists’ hard work created after their day jobs end. These pieces are completed by dawn and despite the late hours and exhaustion, they pour their hearts into their art, finding moments of freedom and expression amidst society’s demands. The artworks are proof that despite the daily routines and drudgery of work, you can always find time to do the things you love, to give yourself the respite from reality through art. Check out @theteaandgallery on IG for more upcoming exhibits. Photos by Niko Blanco from The Tea and Gallery archives A THOUSAND ATMOSPHERES by Subhelic @ Misfits Coffee The first solo exhibit by Leyte-born artist, A Thousand Atmospheres by Subhelic are a reaction to the ongoing climate crisis and the silent extinctions happening caused by humans. The exhibit features works of white paper with random sketches scratched and pricked into the surface. The result is an observation of undiscoverable lifeforms that disappear and reappear with the changing of the light. “ The 11 pieces as well as the zine in this first exhibition are inspired by the hadal zone-- the ocean's deepest, most unexplored-- as well as the quiet extinctions happening in our natural world that we pay no mind to as we go about our human dramas. Biomorphic forms float here and there, automatic drawings of a kind of observation of spirits through a microscope, or maybe a submarine window. Be with me here and look, even if it is hard to see, and stay awhile in the not knowing. We still have time.”  - Subhelic Because of the material and method used to create the pieces they are difficult to photograph or view clearly from a distance. To help with this, “tools for looking” are provided by the artist: handheld flashlights and magnifiers. This allows viewers to “participate as an explorer of a metaphorical hadal zone” Check out @subhelic on IG for more of his art and design works. Photos from Subhelic & @_jeremiad DE-KURONG by John Manuel Legaspi @ Qube Gallery A thesis exhibition by John Manuel Legaspi from the University of the Philippines - Cebu, DE-KURONG explores the chicken coop as a metaphor for the personal and pervasive socioeconomic struggles that shape and confine the lives of the majority. Jani’s coops mirror the restrictions and barriers imposed by poverty. Viewers were invited to step into the spaces and reflect on the interconnection of human experience and envision a society that could be more equitable and compassionate. Check out @johnmanuellegaspi on IG for more of his art pieces. Photos from Qube Gallery Archives. Shout out to Pia Mercado for sharing this album. LANTAO Thesis Exhibition by UP Cebu Product Design Students @ From Here “LANTAO: Through the Lens of Design'' is a Thesis Exhibition that centers on an interweb of collaborations between people, objects, ideas, and stories through product design. The exhibition offered the audience a peek into four different lenses of design: Motion, Well-Being, Material Development, and identity. The exhibit served as a creative essay on connection where viewers and visitors were invited to take a peek to see the individual and collective reflections of the students that were mirrored on projects that retrace and prove, over and over again, the interrelationships that bind us all. According to the exhibit curatorial note, “As product designers, we believe that design should be understood and executed within that web- a reflection of and for humanity.” Photos from Lantao Archives. Shout out to UP-Cebu Product Design Thesis Students for sharing this album.

Artist Focus shines the spotlight on talented Cebu-based artists and designers and their amazing works. This week, we’re getting up close and personal with the toy artist/ designer and art director currently known as Guibs. He is also the creative director for clothing brand, Medium* Designwear but we’re focusing on his toy design journey that has taken him to different countries around Southeast Asia. How did you get started in the world of toy making and design? My toy design journey started when I joined a contest for Martian Toys (a US-based toy company/gallery) called “The Next Great Blank”  in 2017. This was the first time that my toy design for “Kantoy’' was made public. It was initially designed to be a blank, so I didn’t put too much detail into it, following the great blanks that came before like the Dunnies by Kidrobot and the Bearbricks by Medicom Toy. I was one of the finalists, but didn’t win the contest. Since I didn’t have resources and funds at that time to produce my own toy, I decided to park the project and focus on other things. At the time, I was working with Toycon PH and pushed to highlight awesome Pinoy toy artists at the event. After pitching the idea and introducing my good friend Quiccs, we secured an exclusive toy drop with him. We were very excited to have Quiccs as our first Toycon PH ambassador in 2018, where he introduced the "Manila Killa" colorway/design for his TEQ63 character. This success boosted his local fan base and marked one of my greatest experiences while working in the art toy industry. Following Toycon 2018's success, I and some artist and collector friends decided to create an event focused on art toys. By December 2018, Toy Art PH was born, holding our first event at Secret Fresh in Ronac Art Center, Greenhills (one of the greatest spots in the Metro for art toys). We collaborated with Quiccs again for an exclusive "Manila Killa" Dunny (which I unfortunately don’t have a copy of hahahuhu). Through Toy Art PH, I met more artists, collectors, and suppliers, inspiring me to wake"Kantoy" from its slumber and join everyone else in the pursuit of creating our own art toys. Although the pandemic delayed my plans, I finally released my first batch of art toys in the Kantoy line at Toycon 2021, starting with the character "Luto." Since then, I’ve participated in a few custom art toy shows and released more characters. My journey continues today as I seek to expand the art toy community in Cebu, meet more artists and collectors, share my art with a new audience, and grow my art in this new culture. Walk us through your creative process from conceptualization to final product? How do you approach designing a new toy? I think that great design stems from great insight while great art emerges from honest, personal experiences that are rooted in one’s own culture. I also believe that our influences mold us in a way, not to copy but to blend with our uniqueness, creating something completely original. The Japanese are a prime example of this with their distinct manga, anime, and kawaii  culture combined with cool ninjas, samurais, and super robots that the world has embraced and to this day, continues to appreciate. As a 90s kid, Japanese pop culture influenced me deeply. The amalgamation of their own experiences and traditions has a created something uniquely new yet deeply rooted in their own culture. As a result, the Japanese are big fans and proud supporters if their own works. This has been my key takeaway and guiding principle in making my own art toys and designs. Creating art toys involves balancing local culture with global relatability and merging past personal experiences with something that is relevant today. Looking into our own rich local culture, there are a lot of categories to consider like street culture, folklore, history, and traditions, just to name a few. Filipino street culture, especially food, plays a significant role in my designs. "KANTOY," a fusion of "Kanto" (street) and "Toy," reflects this. There are unique nuances to the street culture of almost every island. With this I have created characters like Luto, Hilaw, and Tustado, aka my OG 3. Another set of characters are the Munchikitings, a play on the Dunkin Donuts Munchkins. One can argue that it is a foreign product, but in terms of local culture, Pasalubong ng Bayan will always be a Filipino Dunkin Donuts for me. Living in Cebu for a year now inspired new characters like Chori (chorizo), Maya (Puto Maya), and Puso (in development). The concept of street food also bridges cultural gaps, finding similarities and nuances that make art toys relatable across different cultures. Recently I joined the Mango Art Festival in Bangkok, and I thought that I could make a new relatable character, different from the round motif of my previous characters. I came up with a character named Mango Khaoju, a Pokemon looking creature that is supposed to artistically represent the local Thai snack that is the Mango Sticky Rice. Khao also meant sticky rice in Thai, making it a perfect fit for a Kaiju reference, making it indeed a strange, but rather cute beast. The design was also adapted into its Cebuano counterpart, Maya, which incorporates the concept of Puto Maya, sticky rice with tablea sikwate  and mango slices. There was no need to take away or alter too much from the elements that were already present in the original design. It was simply the formula of the rice cake as base, a sauce to go with it, and of course the star of the show, the beautiful piece of mango with diamond cuts. What are some of the challenges you face during the toy making process, and how do you overcome them? Every phase of production has its challenges. As I'm still learning 3D sculpting, I often hire 3D artists to execute my designs, which can be time-consuming and costly due to communication and availability issues. Prototyping is easier in Manila, where there are many suppliers, but in Cebu, options are limited to UP FabLab, which has long queues. Alternative methods require extra finishing work, and personal engagements with local artists can lead to delays if their machines malfunction. That means you have to find another person to print for you, which is another layer to the overall cost of production. Creating molds for casting is another challenge. Cebu lacks commercial services for molding and casting of resin figures and relying on personal contacts who are willing to make casts for you professionally can cause delays. Outsourcing to Manila also adds shipping costs and risks. Apart from adding to the overall cost of production, I would have to spend a little extra for shipping plus take the risk of my pieces possibly being damaged during shipment. Lastly, the availability of hobby paints in Cebu is limited, causing potential delays in production. Though they are available to order on Shopee, sometimes some situations call for an immediate response. Shipping timelines can cause delays, and I guess this is the time where you learn to gauge your pace with your supply, and have a plan B, C, even up to plan D. The best way to overcome all of this is to be patient. A lot of preparation can help, but it can’t guarantee that there won’t be any hurdles along the way. Are there any particular materials, techniques, or styles that you favor in your designs? If so, why? The dream is to produce in vinyl plastic, but that would mean industrial level production in China, and a whole lot of capital. Realistically, the most practical material to use is resin. It might be harder to produce in large quantities, but it holds more value being an archival type of material. I’d like to explore other materials in the future like polystone, wood, and ceramics. My designs are mostly cute and minimalistic, focusing on simplicity while conveying a clear image or message. While I admire intricate details in some art toys, I believe there's equal effort in creating simple designs. My influences share these qualities, which are a contrast from highly detailed toys like action figures and model kits. I don’t lean towards realism or hyperrealism but more on modern contemporary and pop surrealism. How does your background or previous experiences influence your work as a toy maker and designer? A lot of my influences come from collecting art toys too. It started with Fatcaps by Kidrobot, and little after, the Dunnys by the same company. This is where I learned first about the blind box culture of art toys. A lot of their base designs are very minimalist as well since they were intended to be base blanks or work as a canvas for toy designers and artists. Other big toy companies that were influential are Toy2R and Medicom. Toy2R had the Qee’s and Medicom had Bearbricks, which were their own versions of base blanks. Medicom also made some toys for Kaws which was one of the most coveted art toys at that time. I find that the artists that were influential to me are the ones who were able to bridge the different things that I like overall like art, music, fashion and sometimes even politics. Some of these artists are Kaws, Takashi Murakami, Michael Lau, James Jean, David Horvath, Dalek, Ron English, McBess, Joan Cornella, Frank Kozik, Quiccs, and the list goes on and on. A big part of it also has something to do with Nostalgia. I think a lot of artists take from nostalgia in their own personal way and integrate it with their work, whether it be about traditions in their culture, cartoons they watched growing-up, the games and toys they played with, the food they ate, and sometimes even religious and spiritual references. Could you share with us a memorable or favorite project you've worked on? What made it special to you? One of the most memorable projects I had was my first group show here in Cebu last December 2023 called “Strange Beasts 2: Elemental. An Art Toy Anthology” at Qube Gallery, Crossroads. It was also a great opportunity to exhibit my works alongside long time artist friends here in Cebu, and to meet new artists who were also into art toys as well. It challenged me to create work that was beyond just creating characters or colorways for my spherical characters from the Kantoy line. With my core being street culture and food, I thought of a concept that was still true to that but at the same time relatable to both my usual followers, and my new Cebuano audience. I created a new universe called "Boodle Fights," inspired by the Star Wars fandom. It featured two opposing forces: the Prito Team (fried street food) and the Sugba Team (grilled street food). It’s obviously a reference to fried vs street food since it is always a debate on which reigns supreme when it comes to street food. Both teams had 2 main characters, a pilot and his ship, and a big robot to act as their big boss. The Prito Team with aluminum and orange motif resembling the Rebel Alliance, includes Prito Trooper the pilot (which was my OG Kantoy Luto with the sauce now being used as a helmet) with his Squidball Fighter ship that looks like a UFO Kawali and Prito Bot. The Sugba Team, resembling the Imperial Army with the gunmetal gray and red motif, features Chori (pilot) with his Chori Fighter ship that looks like a UFO sugbahan and Sugba Bot. This concept introduced a new sub-category, MekaKantoy, a sci-fi inspired series in my Kantoy line, and it was my first attempt at creating prints to accompany the toys for a group show. Where do you draw inspiration from when creating new toys? Are there any specific sources or influences that consistently inspire you? Having a core theme in my toys helps me think of new concepts and characters. It also grounds me on what I should and should not do. Rather than it limiting me, it further enhances my creativity on what to make, most especially when I have to appeal to a different culture or audience than my usual. All the artists that are influential to me continue to inspire me to this day. My constant inspiration is experience. There are a lot of things to discover and learn when you travel, when you research, when you meet new people, and when you encounter new works, as well as rediscovering older works as well. My fellow Filipino toy artists are a big inspiration as well. I feel like where there is growth for one artist, there is growth for all of us in the community. In your opinion, what makes a great toy? What do you strive to achieve with each of your creations? Like any type of art, and I guess for toys as well, it will always be subjective. At the very least, a great toy or art toy should be able to give you joy. It should evoke a certain feeling, or memory, or can encourage conversation or discussion. As much as it is a work of art, a certain amount of play considered on its creation is always a plus for me, whether it be modular parts, the way the build was designed, or certain limited articulation (not too much for it to be an action figure). Another factor is that if the toy lends itself to be creatively played with as well, whether it be different concepts, colorways and designs, or even a slight modification to its original sculpt. A great plus if the piece is relevant and is relatable to the audience. The beauty between art and toys is that it gives a platform for the blurred line between something that is personal and expressive, and something that is a shared vulnerable experience with toys. Some people think that it is immature to be creating, buying, or collecting art toys, or toys in general for that matter. I beg to differ. In one of Michael V’s interviews regarding this matter, I think the key take-away is not be childish, but be children at heart when it comes to these things. With my creations, I want to achieve that as well, for people to reach into their inner-child and be able to be at peace with that happiness in them through my works. I also want to have a sense of pride in promoting local culture in the same way the Japanese have influenced a lot of us, and a sense of belonging where other cultures can relate to ours in their own way as well. How do you see the future of toy design evolving, and what role do you hope to play in shaping it? With the evolution of 3D printing and availability to other technology, I think that there will be a lot of growth, maybe much more than I have witnessed in the past 10 years alone. In terms of the actual art and designs, I feel like a lot of artists are mostly into character design and world building. Eventually there will come a time where the works could expand, possibly be more political in nature, or much more of a statement or a message. There are a lot of other materials to play around with other than resin. I can see people trying out other media like wood and terra cotta. Hopefully at some point we can have our own vinyl production in the Philippines, or at least a local toy company who will be willing to invest in local talent. I would love for the local government to be involved as well in supporting these artists, whether it be a grant to help them produce their art toys, or a form of allowance or budget for us to be able to forward our works on international events and platforms. With Quiccs getting involved with brands like Adidas and Jollibee, I can see that more brands will be interested in working with local talents and collaborating with them for merchandise. As for me, I would love to grow the community even more in the VisMin area through my platform Designer & Art Toys PH (D&A Toys PH). I’m looking forward to opening a store soon here in Cebu and being host to our local talents as much as expose the local audience to other art toys and artists outside the country as well. With that, I am also planning an event here in Cebu as I have before in Manila, where we can all gather together, artists, collectors, enthusiasts, both local and international, and celebrate everything that is art toys. I also look forward to organizing more art toy shows like Strange Beasts 2, and expanding the platform to other galleries, venues, and audiences who are not yet very familiar with this art. I hope that in my other international toy events, I can bring more artists from VisMin as I believe that there is much more talent to discover in our local soil. Lastly, I would love to share my time and knowledge to everyone who is interested and is also as passionate about art and toys as I am. Tell us about upcoming events and where to find you on the internet.  Toycon 2024 just wrapped-up last June, but there is another one organized by them this December for the Christmas Toy Fair. Then in August there is an event in Singapore called Pop Toy Show at the Marina Bay Sands. We already joined last year, and I am so happy to come back this year with a new set of artists with me, including Happy Garaje and Lab Monkeys who are all from Cebu. Lastly, I am going to open a store at Atua Midtown this coming July for the soft opening. The store’s name is NEUE Design Store (pronounced as NO-YE). The actual word means “New”, but the brand acronym brings new meaning to it with it being “Not Everyone’s Usual Essentials”. The store will carry curated goods, like clothing, art books and magazines, artisanal candles, and of course a good chunk of art toys, both local and international. I hope to have a grand opening by September with a big event, and a couple of exclusive releases with some artists. You can find Guibs’ artist page both on Instagram and Facebook @guibs.ph. To learn more about the local art toy scene, follow Designer & Art Toys PH @dnatoysph. Photos by Niko Blanco

The punk and hardcore scene is one of the many elements that keep the Cebuano music community alive and kicking ass. It has thrived and existed for decades underground, taking space in Kukuk’s Nest, Handuraw, The Outpost, Boss Grill and others. It was one of those “you just had to be there” kind of things.  Over the course of time, event spaces close down, pandemics happen (shit hits the fan), and although times have changed, the real heart of the punk and hardcore scene lies in the people and passion for the music. The year 2024 has brought the arrival of new spirits to the scene. Not just another label putting out records, Hostile Youth Records has become a pillar for community and inclusivity within the Cebu punk scene with its drive to help local bands grow and make waves.  At the helm of the record label are three passionate individuals who have dedicated themselves to the punk and hardcore community: MAC the resident illustrator who focuses on the bands’ visual identity, cover art for the EPs and albums, LOU who runs social media and logistics and CARLO the banker, PR person, yapper and go-to host for their events. Hostile Youth was conceived in 2011 with Mac and Ja Durano in college. Inspired to do local shows, they organized events by gathering friends from the punk and hardcore scene. It lasted for a year until its resurgence in the beginning of 2024 as a record label. Lou was invited to join and was ecstatic about it. As a witness to the punk and hardcore scene in Manila, he wanted the same vibrance for Cebu as well. Carlo, a corporate guy who needed an outlet outside of his personal life, joined the group later on.  Running an independent record label is no easy task. With everything DIY, there’s no denying the challenges that come with it like curating new music. To kickstart the label, they debuted with a compilation of local bands, and distributed it through cassette tapes. Despite the niche media, it turns out more people are interested in purchasing the records. It takes a village to operate a unique form of distribution for this day and age. Luckily, with friendships and solid networking, it all became easier for Hostile Youth Records. On top of the resources coming from the guys themselves out of their 9-5 jobs, the community is always willing to help out in any way they can. Hostile Youth Records set its purpose to push bands to produce their music and help them distribute. They organize shows for them as well to build the artist line-up and do whatever they can with the help of the band members and their friends and family.  The punk and hardcore scene is in an interesting state, as Mac described. It has undergone a positive transformation over the years. He sees the scene thrive with more diversity and inclusivity. From experiencing the gate-keeping culture pre-pandemic, it has become a space that is forgiving, open-minded, and encouraging. More women have joined in the pits and in the bands. “Revitalized, revived, refreshing kaayo. There’s new people in the scene and more women,” says Domz from Sift. The assholes get kicked out and women are more comfortable going to shows.  What makes the Cebuano music scene so special is the fact that everyone is interconnected and everyone knows each other. With that, there’s always an appreciation for music across genres. Despite it being small, the scene fosters a community that values music. “Within the community you see bands that start hardcore, but end up doing something else. At the end of the day, magka jam ra tanan”  Although Hostile Youth Records has only begun its journey this year, it has so much to look forward to like handling a gig for two foreign bands. Exciting as it is, it’s a big task and a gamble they're willing to take for Cebu to become a stop for touring bands. They look forward to more bands and side projects for material. They’d like to see more young people starting bands, seeing how eager the new kids are. But beyond the challenges, running an independent record label like Hostile Youth Records has its rewards. Like seeing a physical copy of the bands’ music, the successful shows, the feeling of seeing everyone having fun, the photos. Even hearing positive feedback from the people they’ve looked up to before. “Nalipay ra ko nga naa koy friends na tabang kaayo. Not just us three, mga banda kay kusog kaayo mutabang. Community-driven kaayo ron. Naa na purpose.”  Founded not just on a love for the punk and hardcore scene, but on a belief in inclusivity and diversity, Hostile Youth Records has nurtured a space where all voices can be heard. It's not just about putting out music; it's about fostering a community and witnessing the impact your work can have. To stay updated on Hostile Youth Records’ upcoming shows, you can check out their social media IG: @hostileyouthrecords. See you at the next gig! \m/ Photos from Hostile Youth Records Archives

“He who plants a coconut tree, plants food and drink, vessels and clothing, a home for himself and a heritage for his children.” - South Seas Proverb. The staple of Cebuano’s food culture was brought about during the pre-Hispanic period from centuries of Hindu-Malay influence that has embedded itself in the tapestry of Visayan culinary tradition. What was once served as an offering to the Gods is now a savored classic amongst humble locals. But where does this leave the art form in the future? And how well do its intricate weaves hold up against modern culinary culture? Pusô is crafted from the fronds of palm leaves. This abundance of coconut indigenous to the area produces as a significant source of art. Lukay art has produced a myriad of reverence to nature in its custom, the most commonplace being with the Visayan people. “Ma-ilhan ang usa ka lugar, identity ni sa usa ka lugar,” According to Maimai, who has grown up weaving puso, this custom is tied to the identity of the Sugbu-anons. The intricacy takes a level of skill she claims to have mastered at a young age, her hands seamlessly alternating one strip over the other in a rhythmic dance. Talisay is home to many of these manlalah, or weavers who have mastered the craftsmanship for years. Its origins are described in the writings of Miguel de Loarca in 1582 as offerings to the anitos that they may intercede for the offerors before Batala. Family businesses that churn out pusô, which have been passed down from generation to generation, have helped cultivate the craft to what it is today. These master weavers believe that these skills are not merely their culture, but their identity as well. “Mao ni siyay nag-symbolize na Pinoy ka’y ‘ta,” Teresa Taboada, who has been weaving puso since 1995, believes that as long street food continues to thrive in Cebu city, pusô will continue to ‘hang on’ to the Cebuano heritage. It is a stark contrast from the original intent of pusô and other similar offerings which have been to request the divine for recovery from sickness, prosperous voyages, a good harvest, victory in battle, successful childbirth, and fruitful marriages. “Art form gud ni, kinsay gud ga-discover ang bugas kay ma to-un diri? Na mahimo siyang kan-on?” In the street corners of Poblacion, Talisay City, a number of family businesses run a tight-knit venture of puso-weaving, having been passed down from their forefathers since the 1950’s. While most vendors in urbanized areas get their supplies from rural sources, these families  make a day-to-day living making and selling these puso. “Kung di na ma wa ang lechon negosyo sa Talisay, dili siya ma-wa, kay pares man gud ni sa lechon. Tagsa raman ka-ayo mo pares aning kan-on gud,” It is not uncommon for these businesses to think collectively, as a part of their marketing and resource management. Aside from understanding their consumers, they exhibit a grounded perception towards the art form and how it acquires skill as much as it sells as a product. “Kay kanang kan-on, ma-ayu man siguro naa sa restaurant ug karenderia, pero mga street food kargado in-ani gud mao dili jud ni siya ma wa na negosyo,” From an economic standpoint, pusô is a dish for the middle class, and an affordable meal for the new generation in a more challenging economic situation. Pusô is no longer identifiable only as an art to some, but a form of survival. “Makatabang sad ni’s mga tao pud, panginabuhi sad gud ni nila. Di ba sad tanan tao kahibaw mug-weave ani,” Teresa is also a teacher at an elementary school, and she believes that this could be beneficial to the current curriculum. One study points out a need to integrate the craft into home economics, while DePed launches a concurrent curriculum on the emphasis of primary and secondary sources teaching Araling Panlipunan. On this note, there is a need for a discussion on such cultural beliefs relative to puso weaving and where basic education can expound on practice through the academe. Teresa is optimistic that it will be passed on to the next generation. “Ma-pass on from generation to generation gud ni, kung kama-o ang bata, ma-himo ni siya ug daily living,” Art as a way of life, surpasses both survival and economic standards. In a way, pusô has become a transitional form of art from the ritualistic pagan customs to the delicacy we know of today. The statement of ‘art keeps the world full but the artist starving’ is exemplified in the pusô livelihood’s sustainability as not just an economic need, but as a form of cultural heritage.

Cebuano Pride is taking it up a notch this year with so many celebrations prepared by various organizations and LGUs. And with every passing year, the community and festivities are just getting bigger and bigger. I had the opportunity to attend Cebu Pride Festival’s media huddle held on May 29, and the Opening Night House Party on June 1 at the LoveYourself headquarters. In those events I gained so much insight and met many inspiring individuals of today’s LGBTQIA + community. We’ve come a long way since the first celebrations of pride. The first ever march in the Philippines was on June 26, 1994. It was to commemorate the 20th anniversary of the Stonewall Riots in New York City. This historical moment was not only the first Pride March in our country, but in Asia too! A lot has changed from that point on. The LGBTQIA+ community continues to grow. Generations come and go but the spirit remains the same. Celebrating pride has always been a protest in the form of parades and parties. And as a young member such as myself, it is so easy to get lost in the dancing, the music, in the pride. Cebu Pride Festival’s (CBF) initiatives have served as a reminder to myself that the battle is far from over. Although the community has gained more acceptance in society with government policies in place to protect it, there is still so much work to be done. This is where Cebu Pride Festival’s partnership with LoveYourself Cebu comes in. LoveYourself is an organization that provides free HIV testing and treatment, and promotes preventative measures like PrEP. It also recognizes the mental health challenges faced by the community and offers support services. Beyond healthcare, they create safe spaces through community centers and advocate for LGBTQIA+ rights and equality. Together with LoveYourself Cebu, CPF 2024 comes with the purest of intentions to put purpose into these celebrations as Ramon Basabe, one of the spearheads, emphasized in the media huddle. This year CPF will have several advocacies to roll out in line with the merry-making. I realized how crucial it is to remember that Pride goes beyond having fun and celebrating ourselves. We commemorate the members of the community who have paved the way for us. We honor their sacrifices by advocating for the minorities and people in need. On Pride month, we keep the fight for LGBTQIA+ equality alive. We raise awareness about ongoing issues like HIV/AIDS discrimination, we amplify the voices of minorities like the PWDs, and push for positive change, visibility and community action. As a Gen Z member or ally, it is our responsibility to educate ourselves and get involved. Let’s get out there and party, protest, and protect our rights. Cebuanos are lucky enough to have a packed schedule for Pride. So you can check out the official Facebook page of Cebu Pride Festival (https://www.facebook.com/cebupridefestival) for upcoming events and LoveYourself Cebu (https://www.facebook.com/loveyourselfwhitehouse/) to learn more about the fight against HIV/AIDS. Happy Pride!

Creative Spotlight goes behind the scenes to some of the awesome campaigns and projects made by Cebu-based design studios and agencies that don't get the hype they deserve. This week, we're highlighting the work of Dual Story, a purpose-driven brand consulting agency rooted in strategy and creativity. Branding for an Engaged Citizenry In 2023, Dual Story’s annual anniversary project was a collaboration with the local government of Alegria to create a visual identity that invites its citizens to embody the municipality’s essence of Que Alegre (“what joy”). Alegria may seem like a brief passing point on the way to more popular destinations in the north. Only a curious few stay to see what the municipality has to offer beyond its most popular tourist spot: canyoneering in Barangay Compostela. Ready to share what lies beyond the surface, Alegria strengthens its development roadmap through three pillars: (1) Responsible Tourism, (2) Organic Agriculture, and (3) Investment Support. “Que Alegre!” and “Beautiful Alegria” are the municipality’s tenets. The agency’s place branding efforts had to fortify these. The Challenge “What makes Alegria, Alegria?” was the question the agency wanted to answer during their five-day design sprint. The agency had to use intuitive anthropological markers per barangay while seamlessly merging it with the municipality’s 2028 development roadmap. Dual Story’s Insight Every barangay in Alegria is protective of its own identity and assets. Compostela is known for canyoneering. Lepanto is known for agriculture. Poblacion is known for its heritage sites. Sta. Filomena is known for artisanal fishing. Because of this, the agency chose to create a modular logo that could be taken apart and assembled together. The form, a sharp triangle, subliminally mimics the A of Alegria. The colors chosen reflected the dominant color palette of residential households, which were anthropological markers of the municipality’s collective taste. The Process The team conducted its due diligence by doing asset-based community checkups focusing on the municipality’s industry drivers: tourism, agriculture, and investment. We worked closely with Alegria’s government offices, including the Sangguniang Bayan, Sangguniang Kabataan, and Municipal Tourism Office, to empathize and align with the constituents in co-designing a brand that reflects of how they want to see Alegria. A basic Design Thinking and Branding Workshop was also conducted. These agency and private citizen consultations, along with the workshops , assisted the LGU in taking on the challenge to see Alegria with fresh eyes. We fostered open and inclusive conversations, stepping in as facilitators to ensure stakeholder voices–such as the municipality’s farmer representatives, mothers, entrepreneurs, and youth–were heard. Anecdotes and Funny Stories “After trekking all the way to Mt. Lanaya’s base camp, Dual Story’s intern designer Tiffany Miranda, developed a really bad stomach flu. We hoped she would recover. We didn’t want to be the one to break the news to her parents that their daughter was sick on her first unsupervised trip. She had to work on the graphic elements while nursing herself back to health. She slept it off for a night, and came back the next day ready to work on the designs. Many of the elements from the logo came from her hard work. She had to power through because we were presenting to the Mayor and Councilors the next day.” “Heat, sweat, and the worry of being way past my destination are only few of my traveling concerns. We almost landed in another municipality because my colleague and I were both shy to say “Diri lang!” to the bus conductor. We had to sleep with one eye open, locked at the window pane, just to make sure we wouldn’t get lost. Thankfully, we arrived. Yes, we had to walk a few hundred meters back in extreme heat because we missed our stop, but we arrived.” JM GONZALES, COPYWRITER “Fast and oily food is our usual go-to whenever we work. So being in Alegria was quite a shift for our stomach. So much fresh seafood, every day! We were beyond stuffed. The government of Alegria ensured we were well-fed, so we had so much food. Did we mention that the food was chef’s kiss?” SOPHIA OLVIS, RELATIONSHIP MANAGEMENT OFFICER https://dualstory.com +63 915 567 8842 https://www.facebook.com/dualstory

The creative industry of Cebu City is home to a variety of distinct communities. From visual art to music, my beloved hometown, to the best of its abilities, nurtures artists, creators, and craftsmen who make the creative landscape an exciting one. Yet, amidst this bustling and diverse scene, there is one community that seems detached from it all—the tattoo community. Savage Ink Tattoo Competition 2019 While tattoos are pretty much accepted in mainstream society now—yup, tattoos may not be as “badass” anymore—there is little representation of this sector in the broader playing field. It's largely left to the initiative of tattoo artists themselves to elevate their craft. Meanwhile, Cebu has numerous art and design events that are oblivious to the tattoo community. Why aren’t tattoo artists part of the hyper-local dialogue of these other creatives who drink and exchange ideas with each other? There is no rubbing of the shoulders for them. Is it because the tattoo artist is often perceived to be a service-oriented craftsman, rather than the typical “struggling creative” who does their best to make ends meet? This perception may pigeonhole them as skilled workers, excluding them entirely as members of the creative community. However, they have elements in their job that are also in other creative jobs. They have deadlines (which they can actually move sometimes); design briefs (that they can manipulate according to their style); clients to please (and perhaps argue with if the client is being a stubborn jerk); and painful backs (yeah, no difference here). Savage Ink International Tattoo Convention 2023 Another factor to the disconnect could be the nature of the tattoo industry and the literal space that tattoo artists do their work in. Unlike art galleries or music venues where networking and collaboration are encouraged, tattoo studios are more private and client-focused. Also, they work long unholy hours, so there’s really not much to do after, except eat, sleep, draw, and repeat. It’s a never-ending cycle that’s also reflective of their intense commitment to their craft. They struggle with showing up to events and barely have the time or headspace to go on dates with their wives. (It’s okay.) Tattoo artists can be an obsessive bunch. It’s probably this single-minded obsession that isolates them from the hullabaloo of the so-called creative lifestyle. They’re kinda like the weird cousin of your friend whom nobody talks to because you’re not even sure they would respond. On the other hand, perhaps the tattoo community remains unbothered with no desire for external “validation” because they are self-sufficient and thriving within their own domain. The Filipino tattoo artist frequently makes waves in international tattoo conventions, demanding the attention of some of the world’s most respected masters of the craft. While not often recognized, their cultural and economic contributions are unquestionably significant. Savage Ink International Tattoo Convention 2023 As a tattoo collector who has worked with players in the creative industry and the tattoo community, I feel a certain separation of worlds. It’s nobody’s fault though, right? It’s just how the cookie crumbles… into crumbs of obscurity. But does anyone actually care? Is the current creative industry curious enough to understand and bridge the gap with the tattoo community? Do tattoo artists even want to include themselves in the mainstream discourse? Am I just a babbling vain idiot who wants to be heard? Does my perspective hold any merit or should we just leave it be and not rock the boat? While these musings float in the ether, I will continue to do what I can for the tattoo community: write about them—about us. After all, the pen is mightier than the sword. And in our world, so is the needle. Los Carlos Tattoos Studio

I had the privilege of being invited to ‘First Listen,’ a private listening session of Cattski’s new surprise release, Limerent. There was no pre-launch promotional noise or big buzz around it. Quiet, yet powerful, just like the songs on Limerent—as if to say, “Here I am. I’m just happy to be here.” Cattski shared that 2023 was the most transformational year for her, and Limerent definitely reflects that. As a friend, I found myself in tears of joy when the first track “Tattoos” played, which is one of my favorites from the 8-track album. The other one would be the reimagined version of “Drunk.” It’s hard to shake off old Cattski favorites, but Limerent does offer new ones, for sure. I asked her a few questions to dig deeper into the making of Limerent. Why Limerent for the title? Because this is an album that talks about a boundless form of affection that is not dependent on receiving anything in return. It transcends circumstances, flaws, and limitations, and it is characterized by acceptance. The internet will give you another definition. But here I am defying that. You mentioned the importance of intention during First Listen. What is your intention with this album? To celebrate myself. The bad parts. The good parts. All of me. I’m seeing them all clearly now – those unpleasant parts of me. And yet, even as I have all these reasons to HATE myself further, as if I don’t already hate myself enough, I made a conscious decision TO LOVE MYSELF INSTEAD. LIMERENT is the beginning of this journey of self-discovery and acceptance. With LIMERENT, I have sat in the discomfort of my flaws, toxic traits and traumas, and made a commitment to work on my healing. And with LIMERENT, I basked in the joy of being ME. I have a beautiful mind. I am exceptionally creative, I have artistic genius and, more importantly, I have a huge capacity to LOVE. Who is this album for? I honestly didn’t write this FOR anyone. I did this for me. I am done with the whole “I-wrote-this- for-you” narrative in songwriting. I wrote this for myself. Sure, it could be ABOUT or BECAUSE of a person, circumstance, or situation but it’s NOT for them. Sure, there were triggers and provocations, as much as there was a strong inspiration but, at the end of the day, this is for me. I will defy the age-old Filipino sentiment of writing FOR someone – as in the “harana” mentality. It’s 2024. It’s a new day. So, let’s just say, this album is FOR anyone who feels something when they listen to it. Because, after all, why live if we don’t allow ourselves to feel. Was there a song that was emotionally difficult or challenging to write or finish? It wasn’t that challenging but it really took a while, there were some words that just wouldn’t come and it only came on the last day of production with the submission deadline the next day. I’m talking about BACK 2 U. I started writing BACK 2 U while in Cambodia in January. It was easy crafting the choruses but I’ve revised the 2nd verse so many times. I kept revising but the song just didn’t want it. It kept saying NO. The songwriting gods finally approved my final revision on the last day of mixing and it just made sense. Those were the words necessary for this song. It seems so simple but this took a really long time - “You were never meant to blend in with the crowd but you need to love yourself out loud. And you were really meant to always shine a light, never to hide behind the night” To some degree, I consider Back 2 U the most important song - that is why I opted to put it as the last track instead of Drunk (Bonus Track). It’s been 12 years since you released a full album. Fill in the blanks: l am more _____ and less ______ now than 12 years ago. l am more SELF-AWARE and less CRUEL TO MYSELF now than 12 years ago. Limerent is on all streaming platforms. Go take a listen and be reminded to live out your own truth unapologetically.

"A person only need to step outside to find themselves in wonderland." -Daido Moriyama In every minute of our daily lives, we move.  We move when traveling, we move while working.  We move when dancing, we move when playing. We move when we are awake, we even move while we are asleep. This February 24, 2024 marks the first photography exhibit at the Making Space The Gallery entitled “Still not still” by 4 CAFA boys from different creative fields sharing photos from their collection that captures movement in different forms. Former classmates from USC’s College of Architecture and Fine Arts (CAFA, now known as SAFAD), Percy Mansueto, Cyril Villarante, Dexter Duran, and Misterjude curated photos from their individual archives and will present their collection that captures movement and emotion from various subjects and different fields of interest. We held up the guys with an instant, lightning round of questions. Read on to get to know our guys better and learn more about their photos and process. How did you curate your photos? CYRIL: To curate my photos, I needed to swim through a random assortment of old photos. Categorize them and choose the photos that would go along with the show’s theme. There were tons of photos in my hard drive making it extra hard to select the ones that would fit. Initially, the plan was to have an entire set of sports photos but eventually, I decided to go random. PERCI: Since my photos are mostly music photography I want to make an impact on the audience when they look at it, to make a story, to make them feel the passion shown by the subject and to make them experience that the audience is present/there in the photograph. DEXTER: I chose the photos that fit our theme for the show, which is movement. I wanted to show my photos that exemplified capturing the movement and frenetic energy of the subject while also being visually interesting. JUDE: As most of my fellow exhibitors focus on documentary photography, I feel like the outlier. To blend in, we've chosen "motion" as our theme, pushing me into uncharted territory. This prompted me to revisit my work from the past 18 years, including my film archives, in search of images capturing motion. One of the pieces I selected is a panoramic shot of Archbishop Reyes Street, taken 13 years ago on film. This image, from my early photography days, reflects not only my growth but also the city's development over time. It symbolizes the journey and progress we've both made. Another print features an underwater shot of Alexa, taken before our freediving adventures. It showcases her initial struggles in contrast to her current abilities, mirroring my own challenges within the creative industry—imposter syndrome, feelings of incompetence, and feeling like an outsider. These struggles persist, but the support of a good community has made them more manageable. The final print is a playful image that explores life's mysteries. At first glance, it's unclear whether the subject is moving through the frame or if it's a shadow. This ambiguity reflects life's complexity, reminding us that things aren't always as they appear. What was your state of mind then, when you took those, and now? CYRIL: I work as a freelance photographer and most of the gigs I get are sports and music related. I enjoy both. So it was nothing but pure bliss and excitement when i took those pictures. From the first click of the camera to the last. Scanning through my photos now and seeing a few interesting shots, I can say that it was all worth the shutter count kill. PERCI: My mind is open. I am aware. By being present and patient, I take it as an opportunity, being there in the field. I think, because we don’t know what will happen, I’m always ready to beat down the shutter button. Whatever happens. DEXTER: When I started taking photos during gigs, I started mainly for own personal documentation. Also because I am heavily influenced by Estevan Oriol, Glen E. Friedman and Edward Colver, photography and music always seemed to naturally intersect for me at least. The gritty sense of coolness always attracted me and capturing it through the lens of my camera is what draws me time and time again. JUDE: As a commercial photographer, my day-to-day involves capturing images that often feel superficial. That's why, in my personal time, I photograph everything around me, seeking to capture life's essence beyond work. Whenever I snap a photo, it's driven by an instinctive urge to preserve the moment, without any specific goal in mind. It's only when I revisit these photos months later that they stir emotions in me—joy, sadness, regret, and more. These images serve as a reminder that there's depth to our lives, showing that photography is more than just immediate gratification; it's a way to connect with our humanity. What’s next for your photography? CYRIL: Lately, I have been fascinated in making videos. Stuck in it like a mouse in a sticky pad. This new obsession made me brush my photography aside. But honestly, during the night that we planned out “Still Not Still”, I felt that there is a rekindling of passion. Made me instantly want to pick up my old beat up DSLR and take random photos. Photos that would eventually go inside a folder in one of my hard drives. Unedited. Left to rot. PERCI: Like any form of art, it is always evolving and growing, the learning is endless and I’m willing to learn. Hopefully I get to work with other creatives and to experience, to push myself and work on things I haven’t done before.DEXTER: Honestly, I have never actively pursued some sort of direction for my photography. But if I did, I probably need a better camera. For me right now, photography seems to be another avenue for me to creatively express myself, an abrupt collaboration between me, my camera, the band and the crowd. JUDE: I'm still committed to commercial work and plan to dive deeper into it. Lately, I've been experimenting with various cameras, particularly enjoying the unique touch of film. My goal is to explore visual arts more deeply through photography, focusing on a particular print technique. Wish me luck! "Still not still" is also an exhibition of photographs that show artists and their relentless hunger and pursuit of creativity, never waning and never stopping. As Dexter said, “We never was, we never cared, we are still not still”. Thank you gentlemen of CAFA for sharing your photos with us. “Still not still” launched at the Gallery of Cebu Making Space this Saturday, Feb 24, 2024 and will run until mid-march.