This is a brief sample of some of the layouts for the new Titeflex catalog. It was developed in an ongoing effort to bring the Titeflex brand to the level of sophistication that is equal to their product offerings and engineering capabilities.
Titeflex Aerospace’s proven reputation and successful track record of innovation and quality can be traced to the earliest days of the space age, with over 90 years experience in fluid transfer technology. Titeflex was the first to produce extruded PTFE hose in 1955 and began producing convoluted PTFE hose in 1965. Titeflex Aerospace’s heritage of rigid tube bending and coiling began in 1913 as Joseph A. Lewis & Company, Inc. and has evolved in all aspects of precision bending and tube fabrication to become the world leader in aerospace rigid tubes.
Titeflex Aerospace provides customers with complete fluid transfer solutions in flexible, rigid, or flex-rigid hybrid assemblies. Titeflex leads the world in steel braided and para-aramid flexible hose, in addition to producing complex rigid assemblies in various metals. Titeflex assemblies support commercial aircraft, military and space applications, air and land based turbines, fuel, hydraulics, lubrication, gases, and oxygen.
The Titeflex team provides innovative, advanced technology solutions for our global customers, and complies with the most stringent quality standards.
The Quabaug Corporation utilizes its clean trimmings of new rubber-soling product to develop QuaBoing®, the safest playground and landscape surfacing available for commercial and residential applications. This direct mail piece was created for climbing wall facilities. The top-down pov image is arresting and the use of color is electrifying. We wanted to capture the excitement and exhilaration of a climbing experience and introduce Quaboing as the perfect partner for any rock-wall installation.
QuaBoing Resilient Rubber Surfacing meets or exceeds these important industry and government standards:
Tiles: ASTM F1292-04 (Impact test)
Loose Surfacing: exceeds ASTM F1292-04 (test for maximum fall height)
Loose Surfacing: meets ASTM F963-03, paragraph 4.3.5 (ban on lead and heavy metals)
These are some photos I took on a much deserved Caribbean vacation a few years ago. The miniaturization technique, called tilt-shift, was created in Adobe Photoshop following a few simple steps with masking and the lens blur filter. Pretty cool. Read the tutorial here.
Here’s what I saw at the Monster Jam event at the DCU Center on February 19, 2011. However, what I’ll remember forever is that my son and my brother were with me and we enjoyed the visceral treat of thunderous destruction and the awesome splendor of mischievous mechanical marvels together.
Franklin Square or Federal Plaza? It doesn’t matter what you call it, it’s downtown Worcester. Wormtown. The heart of the heart of the Commonwealth. And this how I saw it on February 12, 2011. It was a bitter wind-whipped day in The Woo. Hard and sad, the seven hills remained lifeless in their dirty winter slumber.
SPEED TV – Japanese Expansion Initiative
The semester’s project was to analyze the cultural dimensions of a foreign nation and bring an american product to market there. I enthusiastically harnessed my passion for auto racing and chose to construct a strategic marketing plan to bring SPEED TV to Japan. Please click here to read the report.
Note: This was an academic exercise completed by Thomas Wilk and submitted in partial fulfillment of the requirements for MSPC 3450 Global Marketing and Advertising, Clark University – College of Professional and Continuing Education. May 3, 2010. Certain assumptions have been made by the author in order to complete the exercise. The entire work is the sole opinion of the author and is in no way endorsed by SPEED TV, News Corporation, NASCAR, ESPN, J Sports, Mobilityland, Toyota Racing Development, Hideo Fukuyama, Joe Gibbs Racing or any other entity named in this report – Despite the fact that it’s AWESOME!
This is a spec poster series I developed for the 2010 New York Comic Con. The layouts feature three of Marvel Comics flagship characters positioned with choice images of New York City. The heros appear larger than life juxtaposed against one of the most famous cities in the world. The designs are accented with video gaming text, reminding the viewer that the convention is not only about comic books, but also has a strong electronic entertainment and pop-culture presence. The weathered technique of the posters was inspired by a recent visit to Manhattan and seeing the oversized bills posted on plywood construction barriers throughout the city.
This poster was designed for the upcoming Tegan and Sara show at the Orpheum in Boston. The concept for the piece was developed in support of their new album “Sainthood”. The two stars are juxtaposed in vector format against a photo of St. Catherine that I took back in 2005. The cosmic color scheme skews feminine, but married with the distressed tone of the poster, the piece remains gender-neutral. Heavy doses of Adobe PhotoShop were enhanced with a light sprinkle of Adobe Illustrator to create the poster. The hero font used is Telegraphico and the location was set in Mason.
Folk-rock duo Tegan and Sara first burst onto the Canadian music scene in 1998, when they earned the highest score in history at Calgary’s “Garage Warz” competition; their quick rise didn’t stop, for their melodic acoustics and charming stage personas led to a slew of dates with Sarah McLachlan’s Lilith Fair that same year and a record deal with Neil Young’s Vapor Records in April 2000. Natives of Calgary, these twin sisters transpired their music interests from the likings of their parents. Tegan and Sara began playing piano at age eight, and in their teens they were skanking around in their own punk bands. This Business of Art, which was produced by singer/songwriter Hawksley Workman, marked their debut in mid-2000, and a summer tour with Neil Young and the Pretenders followed in July. Two years later, Tegan and Sara released If It Was You, and So Jealous hit shelves in 2004. In 2007, Tegan sang backup on a song on new Sire labelmate Against Me!’s album New Wave, and the twins, who had by then moved far from the singer/songwriter mold and were more interested in exploring pop, punk, and indie rock, came out with the Christopher Walla (of Death Cab)-produced The Con. Working with Walla went well and the duo utilized his production skills on their next album as well. Sainthood was released in October of 2009. -MacKenzie Wilson www.allmusic.com
All too often, I’ve found myself completely uninterested in every song in my iTunes library (all 15.75 days worth). It’s not that I no longer like any of the music I’ve collected since the 5th grade, but you can only feed your ears a selective diet for so long. Sure, I have my usual suspects list of favorites, but today I was completely frustrated as I furiously scrolled through my digital library. That was all remedied when I thumbed to the 1993 Grant Lee Buffalo release: Fuzzy.
Grant Lee Buffalo, headed by singer/songwriter Grant Lee Phillips, was a California alt-rock trio that was blessed with critical accolades and had a few modest modern rock radio hits in the mid 90′s. Grant Lee Buffalo never broke into the true mainstream despite a successful stint opening for R.E.M. in 1995 and the band suffered a quiet end in 1999.
My chance encounter with Fuzzy first happened in 1993 while working as a dj for WXPL 91.3 fm Fitchburg State College radio in Fitchburg, Massachusetts. I spun the title track and was immediately stunned. The disc was randomly packed into a giant wooden bin tagged “New Music”. We were asked by station management and the XPL Constitution to play at least 3 tracks from this bin per hour. Playing songs from the new music bin was tedious. It’s not always easy to find brilliant new artists, especially while having to weed through countless ne’er-do-well rock and hip-hop acts from the early 90′s. Discovering and analyzing your personal tastes and savoring your sonic encounters becomes more about partnership of purpose with the artists rather than just playing records. My contempt for the bin and the process it represented ended when Fuzzy sunk its hooks deep inside my spirit.
Fuzzy plays like the soundtrack to a smoky, sepia-toned, grit-filled, dark cornered alehouse of which Grant Lee Buffalo is the house band. Gangsters, voodoo, failure, lost love and sweet affectionate hauntings serve as the lyrical skeleton to this acoustic powered jingle-jangle gem. Stinging hollow-body solos rip in appropriate time to add the right amount of raw color. A sparse ragtime piano stuffs the gaps and breathes life into this alt-rock prize. The near 50 minute narrative of raw beauty and honest pain is well-crafted and doesn’t suffer from any filler tracks.
I have carried and cherished this album for sixteen years now and I highly recommend you give it a listen. Fuzzy will forever be included on the soundtrack of my life. A beautiful reminder of great times in my personal development colored with stunning melodies and contemplative poetry discovered half a lifetime ago.
Kyle Busch had, without a doubt, one of the best seasons in the history of NASCAR. His combined stats for the top three series in NASCAR racing for 2008 are mindblowing. “Rowdy” had 21 wins, 45 top 5′s, 57 top 10′s and led a staggering 4,362 laps. He also gave Toyota their first win in Sprint Cup history. What’s even more unbelievable is that the junior Busch brother barely finished the season in the top 10 in points for the Sprint Cup Championship.
Kyle Busch entered the playoffs 30 points ahead of Carl Edwards and left New Hampshire 74 points behind. A broken suspension piece early in the race put Busch 12 laps down and was a harbinger of things to come. The seemingly unbeatable Busch from earlier in the year was no where to be found; his car suffered catastrophic engine failure after 172 laps at Dover and finished 43rd. Kansas was no picnic either. The #18 M&M’s boys couldn’t get their JGR Toyota hooked-up and Busch finished a disappointing 28th. The one no one could catch was now mired in last place in the Chase after 3 races and was in a fight just to make the stage at the awards banquet.
Busch gutted out 4 top 10′s later in the Chase, but he never truly contended for a win in any of the races. His amazing season ended with a sputtering 19th place finish at Homestead; having to stop for fuel with under 5 laps to go. He did manage to finish 2 points ahead of Matt Kenseth in the final championship standings.
Did the rigors of racing in 84 NASCAR events between Cup, Nationwide and Craftsman Trucks take its toll? Did Busch’s team peak too early or did other teams just get better? Was Kyle a victim of bad luck or just bad timing? No single answer is good enough to explain the team’s failure to capture the biggest prize in American motorsports. What race fans and NASCAR competitors do know is that Kyle is only 23 years old and he is a true wheelman. Kyle Busch has many years of racecar domination in front of him. He has the “checkers or wreckers” attitude for every race he is in. You build him something with 4 wheels and he’ll get you the best finish that machine was capable of (and often two spots more). A future champion? You bet. The question is not if, but how many.
2003 NASCAR (Winston) Cup champion Matt Kenseth makes the Chase again, but fails to make any progress toward his second Cup. He is one of only 2 drivers to make the playoffs every year since the system was implimented (Jimmie Johnson being the other). Starting the Chase in 12th place and having zero wins on the season provided the #17 car with a difficult challenge; finishing 40th at New Hampshire didn’t help matters any.
Kenseth’s bright spot in the Chase came in the second race at The Monster Mile of Dover International Speedway. He led a race-high 136 laps and finished second to his teammate Greg Biffle (Biffle’s second win in a row). Driver #17 followed up his Dover performance with a solid weekend at Kansas, qualifying 3rd, leading 49 laps and finishing 5th. The only problem was that 4 Chasers finished in front of him and Kenseth failed to make up much ground in the Chase.
Mr. consistent was really anything but in the Chase. The #17 had 5 top 10′s and an average finish of 29.4 in the other 5 races. Those stats just won’t get it done against the talent pool currently in Cup competition. Kenseth’s frustrations were apparent with a deliberate wrecking on A.J. Allmendinger at the checkered flag in Phoenix.
Hope is not lost however. Kenseth has solid support from team owner Jack Roush and Ford Motorsports; having just inked him to a new contract extension. He is also surrounded by talent that rivals the Hendrick Motorsports stables with Greg Biffle and Carl Edwards also being locked-up long term by Roush-Fenway. It should also be mentioned that this was Kenseth’s first season with crew chief Chip Bolin. His Championship crew chief, Robbie Riser is now involved with all of the Roush-Fenway teams in a front office capacity.
