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Who doesn't like to go to fingerboard events? If you don’t, I am SORRY. Today, we are presenting a new category of articles… Grind & Slide ! Here, we invite content creators from the fingerboard community and talk about how they create their own unique style of videography, photography, and even in-person events. For the first episode of Grind & Slide , we invited someone special from California who creates all things mentioned above. His name is Nash Jacquez, and he is the Founder of Sorry for Fingerboarding. Nash Keanu Jacquez / Founder of Sorry for Fingerboarding (NY)   Please introduce yourself to our readers!   (NKJ)  Hey, Stoked to meet all of y'all. My Name is Nash, I am the Founder of Sorry for Fingerboarding. I have been fingerboarding since as early as I can remember. Stoked you are all here reading, let's go on a journey together. (NY) Tell us what Sorry for Fingerboarding is all about. (NKJ) Sorry for Fingerboarding was born as a passion project in December 2013 and Launched in May 2014.  I already had experience inside the fingerboard world going back to 2007 and was happy to come back working alongside Blackriver Ramps , Andy Hick from the company at the time really was a huge push and help to grow our scene in California and handed Sorry the Keys to the ship. We initially started as just an event and introduced products just a few years later after our event was established! Thank you for the help BRR, we are so damn excited to see where Sorry is today, I feel at some point there were so many fb events it felt like you could go to one a week hosted by different companies and individuals for months at a time. Thank you fingerboarding for showing up! Photo by: Martin Ehrenberger (NY) Your brand is known for hosting events across the country, what is the story behind coordinating these large-scale events? (NKJ) Yes, thank you! We have been very lucky to travel around and host different style events all over. It all started with the passion of growing up in a small town where there were no fingerboarding events for a long time and wanting to expand and leave the nook or desktop in your house and fingerboard and fellowship with others all around the world. Carrying that drive and feeling we are able to generate a larger scale event to help fulfill our dream and anyone else's. Photo by: Yoon Sul (NY) Back in 2019, you collaborated with The Berrics, one of the most influential skateboard medias that exist today (featuring several talented people such as Nico Frank, Cassius Hirst, and Felipe Gustavo). Can you tell us how you came across that opportunity to introduce fingerboarding to a broader scale of audience? (NKJ) The Berrics  project was always so crazy to me. I'm sure all of us that have skated or fingerboard remember watching the early days of the Berrics and just wondering if we were going to be able to go there someday. In 2018 I was able to go on a trip to Porto and visit "PATEO PRO FINGERBOARDING" the home of Oak Wheels . The session and vibe they provided was very high and it really felt exclusive. I had never felt that before and I had said something or thought that this must be what the Berrics of fingerboarding would feel like. Fast forward to early 2019 (6 weeks before the video came out) I had got a call from Tim at the Berrics that a new collaborator of the Berrics, Bo (Bo's Angles) He brought up fingerboarding and wanted to see if we could build the park. It was a no brainer, hell ya I was going to do it and find a way even if that meant driving 3.5hours every weekend to go use my Dads tools while I lived in a tiny studio apartment in long beach. We were going to make it happen! The video was great and all the B-side footy too! I loved the journey and we even got to collab with them and still even to this day. (NY) You not only post great photos and video content on your Instagram ( @sorryforfingerboarding ) in terms of quality, but most importantly they portray the friendship and sense of community among people (some who have never met in person until the day of the event). Do you look for that humanitarian aspect when you create digital content? or is it a gift that naturally follows with the atmosphere in the room? (NKJ) I really appreciate how you noticed that. So I'll keep this short cause this is how it is ingrained into my mind. My Dad growing up has always been documenting our life events and achievements. He says that when he or I is taking pictures that we should try to capture the feeling of the shot. Here in the fingerboard world a lot of our angles consist of self filmed really up close shots of our hand. If someone else is on the wheel and just snapping pictures we should capture the rider too. See what they were wearing, where we were, what year it may be. All that tells a story and will be awesome to look back on 20 years from now. Hell we turned ten this year and it is so crazy looking back at the photos from the first event.  Photo by: Nash Jacquez (NY) Can you take us through the creative process of filming a fingerboard video (such as your camera setup, filming process, editing, what type of music you select, and why)? (NKJ) Hahah, this one is going to make me laugh. I am probably the laziest creator. I have some really awesome filmers that help me, Cleigh Reid, Brad Parker, Joshua Dean, Martin Ehrenberger, Dad, Tim Olson, Matt Salinas, Ghramm, my left hand and so on... I really just like to get in and get out or plan one day and film about four edits and drop them over time.  I use a Go Pro 9 and a Panasonic hmc150 with the occasional Sony a7ii. Editing like an old big brother skate video or 411 is my thing. Classic quick clips back to back, I do enjoy adding random snippits in between too. The music I select is divided into two ways. I have saved edits with songs I can't upload due to license restrictions on my socials, so I either use music from my homies or license free tracks that go with the same feel I originally wanted it to be. (NY) What motivates you to keep creating content as well as hosting events? (NKJ) Have you felt the joy of gripping a new board, or the joy of landing a nice frontside flip? It's simply just that... Photo by: Nash Jacquez (NY) What does Sorry for Fingerboarding and fingerboarding in general mean to you in life? (NKJ) It is a great hobby and life choice I'd say. In this time of life a lot of us can get distracted by a shiny screen and with fingerboarding being a tangible item it still seems like a great opportunity to pull away for a bit and hone in on our craft and skill. You know the vibe :) Photo by: Nash Jacquez (NY) Aside from fingerboarding, who are you as a person? (NKJ) A creative; I try to involve myself a lot. Photography, Skateboarding, Videos, Wood Working, Graphic Design, Brand Identities. Go out and do something. Dustin Klein always says "Everything's Been Done". It's a good saying, and it's probably true. But have you done the activity you are pondering on yet??? Go out and get stoked!  (NY) Lastly,   is there anything else you would like to add for the readers? (NKJ) Watch old skate videos, watch the old harrics and elias assmuth video parts. Go and read the Beastie Boys Book. Grab a bike and some friends and ride to the local river or coffee shop. Get out, it'll really help your creative mind and perhaps along the way you'll find a new fingerboard spot or think of that ending banger of a trick you were stuck on for your next video part. Love :) Nash Keanu Jacquez Instagram: @sorryforfingerboarding

As we approach the end of another year, it’s natural to reflect on the journey we’ve traveled—each event, experience, and memory, whether joyful or challenging, shaping who we are today. For our guest in today’s conversation, this year marks a particularly special milestone. He’s been part of a unique and supportive family for an incredible ten years. It’s a testament to the unexpected ways that fingerboarding can impact a life, bringing not only skill and creativity but also connection and purpose. For this episode of Grind & Slide , we had the pleasure to invite James Peterson, also known as @indextheory  to WeOuri to share the story of his fingerboarding journey and being a member of the @beast_pants  family for ten years to this point. In our conversation, James shares his decade-long story, reflecting on the challenges he’s overcome, the personal growth he’s experienced, and the thriving community that has shaped his journey. Tune in as we uncover what makes this milestone so special and how fingerboarding has enriched his life in unexpected and meaningful ways. Without further ado, here is the story of James Peterson. Photo provided by: James Peterson (NY)   First of all, congratulations on ten years with BeastPants! How does it feel to reach this milestone with Chris? Did you ever imagine the partnership lasting this long? (JP)  Thank you so much! I can hardly believe it’s been a decade already. It feels amazing to know I’ve been part of such an influential company with an incredible team of riders from all around the world. BeastPants was my first real sponsor, so I didn’t know what to expect. But since Chris and I became friends right away, it felt more like a friendship than a sponsorship. For me, that’s what matters most—building relationships through this tiny skateboard. I don’t see an end in sight for my time with BeastPants, and I’m looking forward to the future and another great 10 years! Photo credit: @beast_pants (NY)   Can you tell us about how you first got into fingerboarding? Was there a particular moment, person, or experience that inspired you to start? (JP)  My fingerboard story is similar to most. I started skateboarding as a kid and got into collecting Tech Decks (which I still have almost all of from my childhood). I loved the different graphics and the customization—taking the boards apart and swapping trucks and wheels. I remember scraping the boards on curbs to give the graphics realistic wear, and that was around the time I learned you could actually do tricks with them. I found out you could heat the nose and tail to bend them up, creating a better shape for tricks. I added craft-store foam tape for grip and tried to make it more effective by poking holes with a pin and rubbing it with the ridges of a quarter to wear it in. The moment I discovered professional fingerboarding was while surfing YouTube. I came across the video Mike’s House  on John Cowart’s page (now @Cowply.jpeg ). It featured legends like Tim Hurley, Mike Schneider , Harold Schon, Ethan Ebling, Darkwood, and the Blackriver  crew from Germany. I remember pausing the video to read the Blackriver sticker labels on the BRR park, then looking them up. The rest is history. (NY)  How did your journey with BeastPants begin? Can you share the story of how you first connected with them? (JP)  My journey with BeastPants began at an Emanant fingerboard event in SoCal, where I met Chris, Darian, and Trevor (the first two BeastPants riders). I started attending more Emanant events and hanging out with them, eventually becoming close friends. Connecting with them in person and on online forums like FBHQ and YouTube is what led to me joining the team. Chris recognized the bond that was forming and offered me a spot. Photo credit: @beast_pants I’ll never forget Trevor letting me stay at his parents’ house whenever I came out from Vegas to events in SoCal. Those days before and after events were a blast, hanging out with legends like Chetty from @ stackedusa , Mallory from Unique , and Vlad from @catfishbbq . Those early days were unforgettable—a time when I made lifelong friendships. I also met Invictus , one of my teammates on BeastPants and just an all-around ray of sunshine. I’m so thankful for the people I’ve met, the places fingerboarding has taken me, and the awesome teammates Chris chose for the BeastPants family. (NY)   Looking back, how have you grown or changed as a fingerboarder since joining BeastPants? Has the company’s vision or style influenced your fingerboarding philosophy in any specific ways? (JP)  Since joining BeastPants, I’ve grown to appreciate clean, simple tricks done with style rather than overly technical combos. A great example is Sam Aronie from @dum1technology . His ability to execute simple grinds and tricks with so much style makes it more enjoyable to watch than someone landing a nollie inward heel nosegrind nollie tre out. That philosophy applies to life beyond fingerboarding, but it’s definitely influenced how I film and edit. I aim to create videos that represent the brand’s clean and creative aesthetic—just like Chris’ incredible split plies and hand-drawn graphics. Photo credit: @hopster.fb (NY)   What are some of the standout memories you have with Chris and BeastPants? Are there any special projects, trips, or collaborations that left a lasting impact? (JP)  Some standout memories with Chris and BeastPants include the early days and the amazing BeastPants events. These gatherings had a strong sense of community and creativity. I remember helping Chris with the Smoking Cat park before one event—it was awesome seeing all the collaboration within the local scene. The events were well-organized, with vegan jackfruit tacos (so good!), beautifully set-up parks, and even a space outside for footboarding. Photo provided by: James Peterson One of the most memorable events was a collaboration with Mike Schneider and the FlatFace team called Face of the Beast . Mike rarely collaborates, so it was a testament to Chris’ vision. Another special moment was when Chris created pro models for the team. For my graphic, I sent Chris a drawing of siamese twin alien eyeball creatures, which he digitized. Seeing my design come to life was surreal! A more recent memory was reconnecting with Chris at the Sorry for Fingerboarding  nine-year anniversary event. It was nostalgic and brought back memories of the SoCal fingerboard scene’s heyday. Huge shoutout to Nash from Sorry for everything you’ve done for the community! Photo provided by: James Peterson (NY)  What were some of the biggest challenges you faced throughout your fingerboarding career? Were there any specific milestones or achievements that kept you motivated to keep progressing? (JP)  One of the biggest challenges I’ve faced in fingerboarding came around age 18. I wasn’t active in the community and felt uninspired. Life—college, friends, and growing up—took priority, and I fell into a “fingerboard slump” until I was about 22. During that time, the community shifted from YouTube to Instagram, so I had to reconnect with people and adjust to the new platform. More recently, I’ve struggled with balancing fingerboarding and life. At times, I’ve spent too much time on Instagram and felt like it was taking focus away from important things like my career, relationships, and friends. Life is all about balance, and I’m working on maintaining it every day. Photo credit: @beast_pants (NY)   Sponsorships can be unpredictable. What do you think has been the key to your lasting partnership with BeastPants? Any advice for younger fingerboarders on building long-term relationships with sponsors? (JP)  Today’s fingerboard scene is massive, with so many new brands since the pandemic. Sponsorships are more common, but I believe lasting partnerships are built on genuine relationships with the brand owner and teammates. It’s not just about status or free products—it’s about supporting your friends and their brands. My advice to younger fingerboarders: Support the brands you love, whether you’re sponsored or not. Build friendships, and sponsorships will come naturally. (NY)  With ten years behind you, what are you looking forward to in the next phase of your journey with Beast Pants? Are there any specific goals or projects you’re excited about? (JP)  With ten years under my belt, I’m excited to see what’s next for BeastPants. Chris recently revived his signature split plies, and I can’t wait for the special edition of my first pro model, featuring a pink leopard print background with an alternate colorway. Keep an eye out for the release soon! Photo credit: @beast_pants (NY)   How has fingerboarding influenced your personal growth over the years? Are there lessons you’ve learned through fingerboarding that you apply to other areas of your life? (JP)  Fingerboarding has influenced my personal growth in so many ways. It inspired my creativity and taught me perseverance, as my dad pointed out. He’s always supported my hobby, helping me build ramps and come up with new ideas. My mom was just as supportive, driving me to events in other states and even emailing Mike Schneider ’s mom to arrange a meeting! Their encouragement means everything to me. (NY)  What keeps you motivated to keep pushing yourself in fingerboarding after all these years? Is it the thrill of learning new tricks, the community, or something else? (JP)  What keeps me motivated is the limitless creativity of fingerboarding. From ramps to decks to filming videos, there’s always something new to create. I’ve recently started a side project— @dexterity.equipment —to channel my ideas and learn how to make decks myself. I’m still riding for BeastPants, but this is a personal endeavor to explore my creativity. The growing community and endless possibilities for the future keep me inspired. If you’re passionate about something, go for it—build your own scene, make your own products, and be part of this amazing community. Photo credit: @hopster.fb James Peterson Instagram: @indextheor y

Where is the limit for fingerboarding to expand? Personally, I don’t think there is one. When you find a spot to fingerboard—whether it’s a perfect marble table or a rough concrete ledge on the street—if the four wheels can roll, that’s good enough for us. This brings us to our topic for this episode of Designer’s Ethos : the relationship between fingerboarding and architecture. At first glance, they may seem like unrelated worlds, but this article seeks to uncover the deep connections between the two. Architecture shapes the spaces we inhabit, whether it’s a bustling cityscape with hidden gems for fingerboarding or the cozy confines of a DIY fingerboard park at home. For fingerboard enthusiasts, architecture isn’t just a backdrop—it’s a canvas for creativity and exploration. In this episode of Designer’s Ethos , we sit down with Portuguese architect and fingerboarder Gil Dias, also known in the community as @professor_gil_fingerboarding . Together, we dive into the intersection of design and play, exploring how architecture influences not only the spaces around us but also the joy and inspiration we derive from them. Kick flip at Masserras building lobby, amongst Portuguese Lioz Marble / Photo by: Emmanuel Oberle (NY)   Can you share your background and what first drew you to architecture? Was there a particular moment that sparked your passion? (GD)  I believe I’ve always been drawn to architecture, ever since I was a little kid. So many of our memories are shaped by the spaces where our lives unfold, even if we’re not fully aware of it. I have vivid memories of spaces from my childhood—from my grandparents’ houses to the kindergarten I first attended, the schools I went to, and the homes where my life took shape. I believe this is true for most, if not all, people. While I always had “some” understanding of architecture, in all honesty, I only became truly passionate about it after enrolling in architecture school. There, I was exposed to so much information through both theoretical and practical classes. I’ve come to believe that the more you know about any subject, the deeper your passion for it grows. If I were to pinpoint a moment when my passion took root, it would be during my time at university—a gradual realization over months of study. I came to understand that we are all part of something much greater than ourselves, and architecture is one of the ways we express our identity as human beings on Earth—albeit in a physical form. “Small teenage wannabe corner at home”, Lisbon / Photo by: Gil Dias (NY)   I’m curious to know more about your journey with fingerboarding. Were there other influences that led you to appreciate its parallels with architecture? (GD)  I’m not entirely sure about the parallels, but there was a significant influence from building physical models. When the Portuguese FBPT forum appeared, I started building a lot of fingerboard ramps, using the same materials—and experimenting with new ones—that I used for architectural models. My journey with fingerboarding began when I was skating a lot. Like so many others, I loved trying to mimic skateboard tricks with my fingers, using whatever I could find. For me, in Portugal, that started with a small eraser that had a tail, which I covered with grip tape. Later, around 1997, I came across a Tech Deck at my local skate shop, Marteleira—I believe it was a Think model. From that moment, a fingerboard has been in my pocket probably 95% of the time. It wasn’t until 2006 that I saw a YouTube video called Portuguese Fingerboarding  by Miguel Tavares. That video introduced me to the growing fingerboarding scene, and only then did I start learning proper tricks—beyond the low ollies and slides I had been doing before. Fingerboarding in a Brutalist school in Chur - Holy Christ Church, by Walter Förderer, 1969, Switzerland / Photo by: Emmanuel Oberle (NY)   Architects often discuss the balance between functionality and aesthetics in their designs. How do you personally achieve this balance, and can you extend this concept to fingerboarding? (GD)  I firmly believe that functionality is king, meaning that aesthetics should always follow function and never overpower it. In that sense, you could consider me old-school, as I believe we live in a time where aesthetics often dominate. Everything today is fast-paced, designed for quick consumption, and easily discarded, resulting in a short lifespan. This trend isn’t limited to daily objects—it affects music, skateboard graphics, fast fashion, and more. Since architecture and construction are responsible for a massive amount of pollution, energy usage, and resource consumption, I think we have a responsibility to challenge this “trend” of short-lived designs. That’s where functionality comes in as a potential solution—one of many, of course. If a building—or any object, for that matter—has a longer lifespan, it will reduce resource consumption over time, especially as we (hopefully) move beyond today’s constant need for novelty. A building must meet its functional requirements in the best possible way while also being adaptable to future needs. It should be designed to withstand the elements—even extreme ones, as we’ve unfortunately witnessed in Portugal in September 2024 and recently in Los Angeles. This could mean designing fireproof, airtight buildings with tempered glass in certain areas, suspended structures with strong foundations, and systems for efficient rainwater drainage and retention. To connect these ideas to your question: deckmakers and other creators in the fingerboarding world should aim for optimal functionality while keeping aesthetics in mind. We all want grindable surfaces and edges, quality wear and tear, durable materials, and a realistic look. Some key players, like Stoned Obstacles , are already moving toward this balance by creating products that feel authentic and durable. Kick flip to fakie at one's childhood's playgrounds is an amazing experience. Kempten, Switzerland / Photo by: Emmanuel Oberle (NY) What values would you say are essential in both architecture and fingerboarding? Is it about freedom, creativity, precision, or something else? (GD) Full freedom of thought, the ability to think outside the box, and even the ability to feel  outside the box—these are essential. Anyone who has experienced a state of flow in fingerboarding (or creating art) knows it’s about more than just brainpower, function, or execution. Sometimes, we put in a lot of effort to land a trick or come up with a solution, while at other times, the answer seems to come to us effortlessly. I would summarize this as a concept akin to “selectively choosing to invest in a direction” and then reaping the outcomes. It’s important to remember that this is a broad concept, open to interpretation and application. Loz's Flint  workstation, working on a custom Flint / Photo by: Emmanuel Oberle (NY) Both architecture and fingerboarding seem to involve a deep interaction with physical space. How do you see these two practices overlapping in their use of space? (GD) I think skateboarding allows for a much broader physical interaction with space, as Iain Borden explains so well in his book Skateboarding, Space and the City  (which I highly recommend). The ability to see something “normal” from a new perspective is a quality shared by both skateboarding and fingerboarding. Where others might see just urban furniture, statues, or generic structures, skateboarders and fingerboarders see potential spots. Architecture, on the other hand, serves as an ensemble of building blocks for life to unfold within the artificial environments we call cities, towns, or even small landmarks. It allows for multiple interpretations, offering a platform for diverse thought patterns. I believe this vision is incredibly valuable, especially in the unique times we are living in. The urgent need for different ways of thinking is undeniable. New forms of organization and production must emerge to help us, as a species, address the enormous challenges we face. Architecture, like skateboarding, encourages us to reimagine and rethink the spaces we interact with, which is essential for creating innovative solutions. Páteo 2024, riding the Lions Plaza Replica spot / Photo by: Emmanuel Oberle (NY) Many fingerboarders are very adaptable and resilient when learning new tricks. Is there a comparable process or mindset in how you tackle challenges in architectural design? (GD) I’d like to add that our mindset—focused effort, intensive research, and active trial and error—is key to achieving results. Personally, I’m not a big fan of spending hours trying to land super difficult tricks on camera. Much like skating, I prefer to enjoy the process—exploring, having fun, and eventually coming back to the trick. After a few tries, I’ll either land it or move on and “go around the block.” In architectural design, this mindset can be compared to diving deeply into functional studies. When you truly master the functional aspects of a design, you can revisit the project, rework it almost from scratch, and produce a solution that is a perfect synthesis of all the elements, fully aligned with the original intent. Of course, much like skating, there are times when we fail the trick, get hurt, miss a deadline, or have to settle for wrapping up the project as it is. Chilling at Am Steig, Mythical spot in Schwarzenbach, next to Paolo and Loz (actually oiling some Gripskin decks to help Manu out) / Photo by: Emmanuel Oberle (NY) For fingerboarders, the environment shapes their movements and ignites their creativity to utilize the space, just as architecture shapes human experience. How do you envision your designs impacting the lives of people who use the spaces you create? (GD) I run an architecture office (LUPAstudio) with two partners and a team of collaborators. In our practice, we place a great deal of focus on doing our best to create a positive impact. At the end of the day, the true measure of success in architecture isn’t about winning awards—it’s about having a meaningful, positive influence on society, helping people live better lives, and designing buildings that can withstand the test of time. If we can achieve that, then we’ve succeeded. We’ve been fortunate to have many clients return to tell us how much they enjoy inhabiting the spaces we’ve designed. This kind of feedback makes us incredibly happy, but it also drives us to keep evolving, to look further, and to ensure that our projects prioritize durability, adaptability, and resilience. Ultimately, we hope to contribute to making the world a better place. We work hard every day, and so far, it’s been paying off, but the sense of responsibility is immense. For instance, we haven’t yet had the opportunity to incorporate steel profiles in curbs or seating angles—something we’re eager to do when the right project comes along. Architecture sketches by Gil Dias (NY) With Lisbon and Porto gaining recognition as international design hubs, what do you feel is unique about Portuguese architecture and the fingerboarding culture that stands out globally? (GD) Portuguese architecture is outstanding, in my opinion, due to a historical ability for problem-solving that we call desenrasca  in Portuguese. As a society, we’ve learned to work well with limited resources, and this extends beyond architecture. I’m not entirely sure about Lisbon and Porto being recognized as design hubs—or at least I’m not fully aware of it—but if that’s the case, I believe it’s probably our straightforward, no-nonsense approach that makes us stand out. This attitude applies not only to design but also to fingerboarding. You can feel this authenticity at Oak Wheels ’ (Ricardo’s) Páteo Pro Fingerboarding events. Everything is highly functional—not perfect—but it fosters the essence of what makes fingerboarding culture so great! The sense of community, the side conversations, the unexpected detours, the endless laughter… That’s why so many friends return year after year or whenever they can. It’s not about perfection or expensive setups. It’s just pure and simple fingerboard culture! This same vibe exists in Lisbon with Replica  and has happened—and hopefully will happen more often—with Lowpro . In Porto, let’s not forget Yellowood , which even features a public fingerboard park. While these scenes might have subtle differences, at their core is a shared passion for fingerboarding culture, driven by love and authenticity that resonates with everyone who visits. Gil Dias in Porto / Photo by Emmanuel Oberle (NY)   How crucial is it to you to maintain traditional Portuguese architectural elements, such as materials or patterns, in your modern projects, even when designing contemporary spaces? (GD) Unfortunately, architecture today exists in a state of constant copying without borders. We are still living in an era where an office in China might borrow elements from a Chilean office, or a German office might learn from a Mexican one. At its core, there’s nothing inherently wrong with this—cross-cultural inspiration can be enriching. However, when everything that defines identity-specific architecture is lost, we face a serious problem. This feels reminiscent of the International Style all over again. Due to the weak cultural appropriations of the postmodern era, we architects seem to have lost sight of what makes buildings truly local and regional. I believe we are now entering a period of returning to localism as a response to the tremendous loss of identity we have been experiencing. The growing awareness of carbon footprints in materials is, if nothing else, driving an increase in the use of local materials. Less distance traveled means lower carbon emissions—it’s a no-brainer. This is something we strive for whenever possible. However, in public contracts, contractors are often free to choose cheaper alternatives, which, in our contradictory world, might mean importing similar materials from another continent simply because it’s more affordable. Watercolor and Flint, selfmade picture, 2024, Lisbon, Portugal / Photo by: Gil Dias (NY)   How do you feel architecture can adapt and breathe new life into historic or neglected spaces? (GD) Architecture can and should focus much of its energy on the reutilization of existing structures. We need to shift from a paradigm of demolition to one of reuse as the standard. This change doesn’t rest solely on architects but also on the major key players and forces that shape the construction industry—those who hold the real decision-making power in shaping the physical interpretation of our built environment. When people talk about sustainability in architecture, the focus should begin with how long a building can last. Sustainability should be the result of a complex formula that considers both carbon emissions during construction and the building’s durability. In many cases, it’s better to accept higher emissions upfront for a structure with a significantly longer lifespan than to prioritize low emissions for a building that will need to be demolished and rebuilt in just twenty or thirty years. Over time, recycling could even become more expensive than maintaining or repurposing a durable, well-designed structure. Páteo 2024 / Photo by: Emmanuel Oberle (NY) Lastly, as both a fingerboarder and an architect, I’m curious to know how you construct your own fingerboarding space. Do you have any design tips for those who want to create their own unique space? (GD)  You know, Noah, at the end of the day, it’s really all about a table and a curb. My setup features a marble surface made from smooth, flexible 40x40 cm slabs (you’ll have to convert that to inches!), with storage for ramps underneath and boards displayed on the wall. I’m planning to add a small linear light above it soon! Most days, though, it’s just the living room table with a granite or marble curb—simple but effective, you know what I mean? If I were to share any tips, they’d be: focus on good lighting (which I’m still working on), flexibility, and a surface with good pop (stone, concrete, or phenolic panels work best). Pair that with a mix of hidden storage and on-display storage for a functional yet stylish setup. ;-) Gil Dias Instagram: @professor_gil_fingerboarding

Winter is finally here… or as I like to call it, Frosty the Snowman is just around the block! 2024 has been an incredible year for us at WeOuri. We published our very first article in February, and from there, each article and story only got better and better. To wrap up this amazing year, we have a special gift for you. Our introduction to the fingerboard community was through one of our most beloved content series, Maker’s Insight , and we’re thrilled to close 2024 with another one. For the last episode of Maker’s Insight 2024 , we invited a very special guest from Porto, Portugal. If you’ve seen the teasers on our Instagram, you probably already know who we’re talking about, haha. Yes, we invited Gonçalo Lozano, Founder and Operator of @flint_ltd . Flint has been one of my personal, largest inspirations since I started making fingerboards myself. From the incorporation of traditional methods to the way a brand’s ethos is presented to the community — and even the importance of product packaging  — Flint has set a standard that continues to inspire me. We’re very excited to share with you our conversation with Loz about fingerboarding, craftsmanship, and the Portuguese fingerboard community. Here is the story and insight of Gonçalo Lozano, the creative force behind Flint. Gonçalo Lozano, Founder of Flint / Photo by: Manu Oberle (NY)   Please introduce yourself to our readers! (GL) Hey! My name is Gonçalo Lozano, aka Loz. I’m 38, living in Porto, Portugal, and I’m a happy person with a girlfriend, 2 cats, and a fingerboard brand! Logo engraved on Maple / Photo by: Gonçalo Lozano (NY) What inspired you to start Flint, and what values or ethos does Flint embody? (GL) Soooo… 😛 Flint was a project I started in 2014/2015 when I was working at a product design company. While I was there, they gave me full support to do whatever I wanted during my free time. That’s when I had the idea to revive an old project I’d started around 2005 with a friend (who’s also a Flint rider) named Masserra. Back then, we made decks and called it LOMA . Páteo Session / Photo by: Gonçalo Lozano (NY)   How do the Portuguese fingerboard community and the Portuguese culture at large influence Flint? (GL) The Portuguese scene is old school! The first event I attended was in 2007, where I met lots of people who are still true friends to this day. They were a big inspiration, for sure! André Coral and Gil Dias started LowPro  back then, and they were also very into the “design world.” They were definitely big inspirations for me. Ricardo from Oak Wheels / Photo by: Gonçalo Lozano The same goes for Ricardo from Oak Wheels ! We met in 2009, and since then, he’s been like a brother to me. He always pushed me to create Flint and grow it as a brand. As a fingerboarder and person, I’m also thankful for all the Flint team riders! These guys push me more and more to fingerboard better and to better understand what the younger generation is up to. Big hugs to Irish, Pedro, and Eduardo — the Páteo dudes are always there! Special shoutout to Masserra and Michael — my older bros — who have always supported Flint with love and friendship! And of course, my French bro Treijinha, who always finds time to visit us here or meet up in different countries. He’s always bringing serious skateboarding skills and FB style with him! Screen printing / Photo by: Gonçalo Lozano (NY) You are one of the original craftsmen who implemented screen printing as a method for applying artwork on fingerboards. How do you approach the design and production process for your products? Can you share the reason why you hold on to the “traditional” techniques? (GL) I started making the prints using screen printing because, for me, it was the best way to connect art and fingerboarding. It’s still an artistic process with some challenges, especially at the beginning. Plus, I realized the wear on the boards looked amazing! Photo by: Gonçalo Lozano Thankfully, I found someone in my hometown who could do it exactly how I wanted! His name is Rodrigo Neto, and he owns a screen printing lab called Ofi Atalaia . Much love to him — he’s been helping me since almost the beginning! Every graphic from Flint is handmade by this guy. Together, we work on getting the best color combinations and strive for perfection in multi-color prints (not an easy task). The approach is kinda simple: I talk with the artist, give them some basics about the brand, and send them a template where they have to use 3 colors (or 4, if you count the wood color). These colors are black, white, and the season color , which changes every year (or at least I try to make it that way, hahaha). This way, you can tell how old a deck is just by the color. For example, if you have a red artist series deck, it’s from 2015-2016. This approach also gives the brand a fresh look each year, haha. Photo by: Gonçalo Lozano (NY) Flint is well known for its variety of series (logo, artist, photo). How did you come about this idea and incorporate it into your brand? (GL) Flint started as a limited-edition brand. The idea was to invite artists to collaborate with me on a series of numbered decks. But I wanted to turn Flint into my full-time job, and to do that, I had to create other editions and bring to life the ideas I had in mind. Flint Logo Series / Photo by: Gonçalo Lozano That’s when the Logo Series  came to life. The idea was to have decks that would always be available on the website. But ironically, they sell out just as fast as the Artist Series  decks, hahaha! Flint Photo Series / Photo by: Gonçalo Lozano Then came the Photo Series . I wanted to create something with more potential for precision and diversity. I was hugely inspired by brands like Polar Skateboards  and felt pushed to incorporate photography on the boards. To achieve the effect I wanted, I started using different techniques from the usual screen printing process. This is how the Photo Series  was born. They are also artist collaborations, but they aren’t numbered like the Artist Series . Pressing machine / Photo by: Gonçalo Lozano (NY) What are your plans for Flint in the next few years? Any upcoming projects or collaborations you are excited about? (GL)  Always hyped! Hahaha! I have lots of ideas for what I want to do, but sometimes they just take time because I always want to do them as well as possible. But I can say that I want to start making other things besides fingerboards 😉. I just need to find the time to achieve what I have in mind! Páteo Session / Photo by: Gonçalo Lozano (NY) What does fingerboarding personally mean to you beyond Flint? (GL) Fingerboarding has always been special for me ever since I found one on the street in my hometown in 2001. I never thought you could do so many tricks on it until my brother told me there was a guy in his school who could do kickflips over books (which I found impossible). Flint’s iconic cork packaging / Photo by: Gonçalo Lozano The next year, that guy ended up in my class. His name was Masserra! 😛 This dude represents friendship  over the years. Fingerboarding was always part of our lives, so it’s kinda hard to separate fingerboarding from my life. This tiny piece of wood allowed me to meet so many different people from all over the world. It’s an object through which we can express ourselves in countless ways. You can be in the USA, Germany, or all the way on the other side of the world in the Philippines, and the feeling is the same. Somehow, we’re all connected by this tiny skateboard. Sanding / Photo by: Gonçalo Lozano (NY) What other passions or hobbies do you have aside from Flint and fingerboarding? (GL) Haha, that’s a good question! I have a lot of things I’m passionate about, from computer games to fashion. But I must say my biggest passion is cars! Photo by: Gonçalo Lozano Fifty percent of my life revolves around fingerboarding and fingerboard-related stuff, and the other half is about cars… old JDM cars , to be specific, haha! I’m not a huge connoisseur, but I love the shapes and forms of old cars. There’s something special about them — maybe it’s their simplicity or the fact that they’re non-technological. I can lose hours and hours behind a computer, looking at them and being happy, hahaha! Photo by: Gonçalo Lozano (NY) Lastly, is there anything else you would like to add for the readers? (GL) Be happy that you’re part of a big community that spans the whole world. Save some money if you can and visit different fingerboard scenes in other parts of the planet. You won’t regret it! And lastly, get together!  I’m doing this because people got together. I met some of my best friends because of fingerboarding. Get out from behind your desk and go fingerboard with your friends! Gonçalo Lozano Instagram: @flint_ltd And this is where we close the first chapter of WeOuri 2024. It has truly been an incredible year for us, thanks to the support from our contributors, our guests, and our readers. We cannot thank each and every one of you enough for the unforgettable year we’ve had. More importantly, we can’t wait to share all the new projects we have planned for 2025! As always, stay tuned and have a wonderful holiday season. We’ll be back with more stories soon :) - Noah Yang

We are back with our first Maker’s Insight  of 2025! Who doesn’t love solid, realistic concrete parks? If you’re a fan of smooth transitions and well-crafted obstacles, you’re on the right page. For this episode of Maker’s Insight , we had the pleasure to sit down with Jason Maki, Founder of @cretedoctor  to dive (or drop) into the world of concrete obstacles. We talked about their meaning, their purpose, and what they represent to him as a skater. Here is the story and insight of Jason behind Crete Doctor. Photo by: Jason Maki (NY)   What drew you to building concrete fingerboard parks? Is there a specific moment or inspiration that led you down this path? (JM) I've always been infatuated with building things. Construction and creativity have consistently captivated me. I vividly remember, as young as four years old, creating miniature replicas of Disneyland rides—such as Pirates of the Caribbean, Swiss Family Robinson, and The Jungle Cruise—in my front yard using toys and a garden hose. And yes, I did flood the yard a time or two. My passion for building and innovating never faded. Whether it was constructing a miniature MLB stadium for a marketing class or sculpting quarter pipes and miniatures in ceramics, my desire to build and create persisted. My journey into concrete parks specifically began when I discovered fingerboarding in March 2007. Almost immediately, I saw the connection between building and performance, and I dove right in. From that moment until I began pouring concrete slabs, I crafted hundreds of obstacles and parks using nearly every material imaginable. In my junior year of high school, I took a job at a local concrete yard, where I started learning the trade. Initially, I hadn't thought much about concrete work, but I soon began noticing its nuances everywhere, especially at the skateparks I visited. This sparked my curiosity and deepened my fascination. Photo by: Jason Maki (NY)   Concrete has a unique relationship with light, texture, and wear. How do you utilize these elements in your miniature parks to replicate the feel of full-scale skatepark? (JM)  Concrete is incredibly complex, and I want to be very clear that I'm far from being a pro—there is still so much I'm learning. However, spending over 20 years at skateparks has taught me a tremendous amount. You begin to develop a deep understanding of their structure and design, which makes decision-making easier when working on a park. Additionally, it's essential to have enough knowledge of concrete to properly form and support structures; this is an area where many people often go wrong. Jason and Scott ( @dynamicfb ) / Photo by: @eggz.fb (NY)   Concrete structures require careful formwork and curing. What challenges do you face in creating durable and detailed miniature parks, and how do you refine your construction techniques? (JM)  Once you understand concrete to a certain degree, you begin to make decisions based on its limitations. For instance, concrete has incredible compressive strength but lacks tensile strength. Knowing this, you have to ask yourself: how does that affect the way you'll build your next park? As I mentioned before, each build teaches you so much. I've learned far more by actually doing it myself than I ever could from DMs or YouTube videos. Hands-on experience is truly the best foundation for refining your techniques. Photo by: Jason Maki (NY)   Can you walk us through how you create a concrete fingerboard bowl from start to finish? Are there any unexpected techniques involved? (JM)  The techniques closely mirror real-life construction: dig, frame, rebar, pour, form, finish, and clean up! Yet, at the end of the day—especially at this scale—you're essentially sculpting. There are countless subtle movements, strokes, pressure points, and swipes my hands instinctively perform without conscious thought. These intuitive actions only develop through repetition and time. Photo by: Jason Maki (NY)   The fingerboard scene is growing, and DIY parks are a big part of it. How do you see your work contributing to the culture, and where do you think it’s headed? (JM)  I genuinely can’t say—I never approached this with a 'checklist' of accomplishments in mind. I simply pursued it because I deeply enjoy the process, and everything else naturally followed. However, I can say that I've experienced literal childhood dreams coming true this past year. From building a bowl with Scott and discussing fingerboarding for hours, to having Mike Schneider admire and purchase my work while standing in the very place whose videos I once memorized, or being part of the Blackriver store opening—a company that undoubtedly reshaped my thinking as a kid because of how incredibly rad it was—these moments created feelings I'll never fully be able to describe. They are deeply soul-filling. Honestly, I don't know what's next. My plan isn't about ticking off more boxes, but rather continuing to build and innovate, because that's all I've ever known, and it's an essential part of who I am. Photo by: @shifty495 (NY)   Do you see your parks as purely functional, or do you consider them as a furniture (as a part of the space it’s located) as well? What does working on this miniature scale teach you about creativity and fingerboarding itself? (JM)  Before anything else, my parks need to be functional. It's essential that lines are clear, attainable, and never awkward. The builds I feel most self-conscious about typically violate this principle in some way. Working at a miniature scale truly highlights the differences between skating and fingerboarding, providing me with a completely new set of parameters to consider. Photo by: Jason Maki (NY)   How did your personal experiences with fingerboarding influence the way you approach designing miniature parks? (JM)  I grew up during the classic, Blackriver-influenced “golden era” of fingerboarding, which differs significantly from today's approach. Experiencing such a rich, rare, and unified culture during my formative years gave me a profound appreciation for the hobby. Everything had depth, a meaningful story behind it, and I strive to embed that same level of ethos and wonder into everything I create. However, a significant part of my work today is also influenced by the skaters I've met over the past five years and my relationship with Grindline Skateparks. (NY)   Every designer and a craftsman has a personal approach to their projects. What is your personal approach towards building concrete parks? (JM)  One thing that often surprises people is that all my designing and planning happens entirely in my head—I don’t use any modeling at all. At most, I’ll sketch a feature or two on a piece of paper, but that’s about it. For me, it’s all about instinct and feel, through and through! Photo by: Jason Maki (NY)   Are there specific real-world skateparks, plazas, or architectural spaces that you try to capture in your designs? (JM)  Yes, I can still vividly remember the first skatepark that truly inspired me enough to try and recreate it—Whistler, BC Skatepark, when I was in kindergarten. It wasn’t just about the ramps; it was the way the park was nestled in the Canadian Rockies, as if a glacier had carved it herself. Beyond that, I draw a lot of inspiration from what Dreamland Skateparks does—if there’s an empty space, they’ll find something creative to fill it with. I’m also heavily influenced by how Grindline has pushed creativity in their designs. Essentially, if there’s a way to merge a park with its natural surroundings—incorporating elements like rocks—I’ll be there, fully committed, until the end of time. (NY)   Lastly, how do you want the users to approach and/or interact with your work?   (JM)  More than anything, I want people's initial reaction to be one of pure surprise and awe. I don’t want them to convince themselves the build is sick—I want that instinctive head nod the moment they lay eyes on it. Beyond that, I want those who invest time in the build to be rewarded with all the nuances and hidden lines that aren’t immediately obvious at first glance. Jason Maki Instagram: @cretedoctor

Suddenly, I felt that restless urge for adventure stirring in my bones. I wasn’t sure where I wanted to go—just that I needed to pack a bag and let the wind guide me. Europe came to mind, with its spectacular landscapes, awe-inspiring architecture, and mouthwatering cuisine. More than anything, I wanted to track down the best ravioli on the continent. That’s it—I’m off on a quest for the perfect plate. Let the journey begin! (Noah walks in, eyes wide with excitement.) NOAH (to the barista):  Hi! I’m on a quest for two things: somewhere with amazing  ravioli…and a fingerboard spot. Any leads? BARISTA (laughing):  You won’t find a halfpipe in our kitchen, but the chef does  make killer ravioli. Check that table in the corner—someone mentioned fingerboarding earlier.( Noah nods, thanks the barista, and heads over.) (Noah sees a small ramp set up on the table. Another FINGERBOARDER is testing out mini-tricks.)   RAVIOLLIE (offering a handshake):  I’m Rocco—Raviollie—artist and proud fingerboard enthusiast.  NOAH:  Nice to meet you! My name is Noah, I’m sketching trick ideas and tasting ravioli at the same time. Multi-tasking, you know? (They exchange excited looks. Raviollie plops down, pulling a mini fingerboard from his pocket.)   RAVIOLLIE:  My fingerboard goes everywhere  with me—always in my pocket. (Noah notices that Rocco has a bunch of drawings next to his bag.) NOAH:  I’ve never seen that style of art before. RAVIOLLIE:  I’m a creative! My fingers like fingerboarding! Fingerboarding is art, so whoever fingerboards is an artist. (If there is one thing you can’t leave out when fingerboarding or having a great cup of coffee at a coffee bar… that is a great sound track.) (Raviollie lines up for a trick off the mini ramp.)   NOAH:  If your life had a soundtrack, what’d play when you land something epic?  RAVIOLLIE:  Definitely that French electronic vibe —like Daft Punk, Justice, maybe a bit of Kavinsky. It’s slow and downtempo, but also supercharged, you know? (He flicks his fingerboard; it soars and lands with a neat little click.)   RAVIOLLIE (celebrating):  Bam! Cue the electronic beat drop. NOAH (applauding):  That was perfect.  RAVIOLLIE:  Perfection’s not really my thing—well, unless you’re Leonardo da Vinci or Rodney Mullen—but I’m all about having fun. (They both laugh.) (Raviollie pulls out a sketchbook covered in doodles of ravioli characters.) NOAH:  Crazy designs! Where do your ideas come from? RAVIOLLIE:  My subconscious.  I just fish out strange combos from my mind. I keep my inner child alive—always curious, always combining random things. Fingerboards… and ravioli, for example! (Raviollie imagines an art gallery.) RAVIOLLIE:  My dream  exhibition would showcase paintings, drawings, animations, sculptures… plus some interactive fingerboard performances. Because why just have an art show when you can fingerboard  in it? (A curious onlooker approaches.) ONLOOKER:  Hey, I’ve never fingerboarded before. Any tips? RAVIOLLIE (grinning):  Sure— don’t look for anyone’s validation.  Just keep it in your pocket, take it out whenever you feel inspired, and fingerboard. (Raviollie and Noah follow the chef into the kitchen. Steam rises from a pot of pasta.)   CHEF (with a flourish):  If fingerboarding were a ravioli dish, how’d you cook it?   RAVIOLLIE:  Depends on your sauce mood—meat ravioli with veggie sauce, veggie ravioli with meat sauce, fish ravioli with a splash of butter…just like fingerboarding, mix it up!  No rules, just have fun. Raviollie Instagram: @raviollie_club

Many people perceive branding simply as an extension of marketing. While there is some truth in that perspective, the essence of branding reaches far beyond mere advertising. True branding involves establishing a clear philosophy and vision that not only defines your brand but also consistently guides the experience customers have with your products. However, defining your philosophy and vision alone isn't sufficient. Effective branding requires successfully communicating and delivering these core values to your audience. Branding isn't primarily about selling products—it's about building lasting relationships. While marketing captures attention, branding cultivates loyalty and emotional connections, transforming a one-time buyer into a devoted fan. The distinction is clear: marketing may secure a single sale, but branding inspires customers to proudly identify themselves with your brand. If marketing is the megaphone, branding is the meaningful message behind it. Why Do Companies Rebrand? Corporate identity rebranding—which encompasses logos, typography, color schemes, and messaging—is seldom undertaken without careful consideration. In today’s fast-paced business environment, companies occasionally confront the crucial decision to rebrand. This process is far more profound than merely updating visual elements or adjusting taglines; it is a thoughtful and strategic effort aimed at aligning the company's identity with its objectives, market dynamics, or evolving values. Organizations pursue rebranding for numerous reasons, including responding to changing consumer preferences or communicating a fresh strategic direction. Although rebranding carries substantial risks—such as potentially alienating existing loyal customers—it also holds considerable potential rewards. When executed effectively, rebranding can transform a company's trajectory, reinforcing its relevance, distinguishing it within a crowded marketplace, and revitalizing its overall image. When Rebranding Works When done right, a rebrand can unlock new opportunities, expand a brand’s audience, and modernize its appeal. Airbnb  transitioned from a budget-stay image to a brand built on experiences, introducing the “Bélo” symbol to emphasize belonging. Apple , once a niche computer maker, became a lifestyle icon by refining its identity under Steve Jobs and Jonathan Ive. Image credit: DesignStudio Image credit: Lien Design Companies that invest in authentic storytelling, consumer research, and gradual visual evolution are more likely to succeed. Now, let’s apply this concept to the fingerboard industry. The High-Stakes Art of Fingerboard Rebranding In the fast-paced and culture-rich world of fingerboarding, brands transcend their roles as mere manufacturers—they embody identity, rebellion, and creativity. Even within this niche, fingerboard brands periodically undertake rebranding efforts, not just to update their aesthetics, but to maintain relevance, deepen audience connections, and reflect their evolving values. Here, rebranding becomes a strategic response to shifting subcultural trends, a pursuit of differentiation, and a commitment to aligning with the dynamic fingerboarding community. This column explores the motivations behind fingerboard brand rebranding, demonstrating how these transformations are essential for staying authentic and innovative in a culture where these values are paramount. Why Fingerboard Brands Rebrand One primary reason fingerboard brands choose to rebrand is to adapt to the evolving tastes and values of their audience. Fingerboarding culture is inherently fluid, with trends in style, music, and attitude shifting rapidly, often driven by generational changes. These shifts can reflect broader cultural movements, such as the pivot toward sustainability and prioritizing essential values, which appeal to emerging fingerboarders while preserving the community’s core ethos of freedom and exploration. In this context, rebranding is essential for maintaining resonance with the heartbeat of the subculture. Differentiation also motivates rebranding efforts within the crowded fingerboarding and skateboarding markets. With numerous brands—from legacy companies like FlatFace and Blackriver to innovative newcomers such as UAG F.B —competing for attention, standing out becomes crucial. A well-executed rebrand sharpens a brand’s identity, ensuring instant recognition. In a culture where deck graphics, truck designs, and apparel serve as expressive canvases, strategic rebranding highlights uniqueness, preventing brands from getting lost amidst competitors. The Rewards of a Fresh Look When executed with precision, a fingerboard rebrand can have a transformative impact. A modernized visual identity captures the attention of younger, trend-focused enthusiasts while reinforcing credibility with long-standing collectors. Imagine a brand previously known for its retro aesthetics now embracing bold, minimalist designs that blend nostalgia with contemporary style. Such a shift can: Modernize Appeal:  A refreshed logo or updated packaging communicates innovation, attracting social media-savvy audiences who seek fresh content and authentic narratives. Expand Audience Reach:  By aligning visuals with current trends, a fingerboard brand can broaden its appeal beyond core hobbyists, engaging a wider lifestyle-oriented market. Reinforce Innovation:  A successful rebrand demonstrates that the brand is evolving, proactive in anticipating trends, and dedicated to exceptional craftsmanship. Noah Yang as ‘Word Decks’, before rebranding. Noah Yang introduced its first split ply “Flower Jul” after rebranding. The Risks of Reinvention However, rebranding in fingerboarding carries inherent risks, notably the threat of alienating dedicated riders if changes seem forced or inauthentic. Fingerboarding communities are highly protective of their culture, and dramatic changes can sometimes lead to backlash. A radical redesign may alienate loyal enthusiasts who value the brand's original identity. Common pitfalls include: Alienating the Core Community:  Long-term enthusiasts may feel disconnected if the brand diverges significantly from its foundational identity. Overcomplicating the Message:  A confusing or inconsistent brand identity can leave customers unsure about the brand’s true values and direction. Execution Errors:  Even seemingly minor errors, such as inconsistent designs across products, can undermine trust painstakingly built over time. Strategies for a Winning Rebrand Success in fingerboard rebranding depends on striking a careful balance between innovation and authenticity. Effective strategies include: Deep Community Engagement:  Engage your core audience from the outset by utilizing surveys, focus groups, and beta releases to actively gather and incorporate feedback. Be patient and thoughtful in persuading your audience, always considering long-term impacts and maintaining a clear view of the bigger picture. Phased Rollouts:  Implementing gradual changes helps preserve brand familiarity while introducing fresh ideas. This incremental evolution reduces the risk of alienating loyal customers and maintains brand continuity. Unified Messaging:  Ensure every aspect of the rebrand—from logos to social media—conveys a cohesive narrative that honors the brand’s heritage while clearly pointing toward future goals. Creative Collaborations:  Partner with influential fingerboarders and designers who genuinely reflect the subculture’s values. Their authentic support adds credibility and attracts broader interest. However, these collaborations should always provide meaningful value to customers and must never be pursued simply for the sake of following trends. The Bottom Line Fingerboard rebranding is much more than a cosmetic facelift—it's a strategic realignment capable of reshaping a brand’s future trajectory. When executed effectively, it can attract new enthusiasts, breathe fresh life into an established legacy, and pave the way for sustained success. However, like landing a challenging trick, successful rebranding demands precision, impeccable timing, and a steadfast commitment to authenticity. In the niche yet vibrant world of fingerboarding, brands that thrive are those adept at navigating the delicate balance of evolution—honoring the valued elements of their heritage while boldly embracing innovation. Successful rebranding depends on deeply understanding and connecting with the community’s values and passions. Ultimately, rebranding transcends a mere visual refresh. It's about reshaping the narrative of a brand without losing its core essence. Effective rebranding should communicate and reinforce the brand's philosophy and purpose-driven products, genuinely persuading customers rather than merely expecting them to shift perceptions based on a redesigned logo alone.

In a world that moves fast, there’s something deeply grounding about watching a slow pour over a coffee dripper, or seeing a fingerboard flip through the air. Both demand precision, patience, and a kind of poetic rhythm — brewed or performed by hand, shaped by feel more than formula. What does a perfect coffee pour have in common with a fingerboard trick? Both are acts of balance — of timing, control, and flow. They reward those who slow down, listen closely, and let their hands move with intention. At first glance, specialty coffee and fingerboarding may seem worlds apart. But speak to a barista who crafts each cup with care or a fingerboarder who spends hours refining each line and landing, and you'll find shared values: a respect for process, a love of tactile expression, and a belief that the smallest details often speak the loudest. For this episode of Grind&Slide, we had the privilege of inviting someone very passionate in both worlds. Her name is Mich Sy, Champion of the 2019 Philippine National Cup Tasters. Whether behind a bar or a desk, Mich brings the same steady focus to both worlds — one steeped in steam, the other in grip tape and motion. What follows is a conversation about that shared mindset: where coffee meets creativity, and craft becomes a way of life. Here is the conversation with Mich on the shared language of passion, patience, and flow between specialty coffee and fingerboarding. Photo by: Mich Sy (NY)   Please introduce yourself to our readers! (MS)  Hi Everyone! My name is Mich, I am a passionate advocate of Specialty Coffee. Back in 2019, I competed for the Philippine National Cup Tasters Championship and became the 1st National Champion to represent my country at the world stage in Berlin. This became the turning point in my life to introspect on what continues to fuel my growth and happiness. During this time frame, I was juggling work as a full time banking professional while building a Coffee Equipment Distribution company, alongside a Coffee Roastery, meeting the needs of coffee enthusiasts and cafes alike. I am currently full time in coffee now, and enjoy learning, traveling, and judging coffee competitions overseas. During the pandemic, I was rekindled back to fingerboarding when I found my old Techdeck from ages back. I connected with Vector FB Shop in the Philippine for access to awesome fingerboarding gear. Image created with DALL-E (NY)   Both fingerboarding and specialty coffee involve meticulous craftsmanship and attention to detail. How do you see these shared values reflected in your daily practices? (MS)  Small details make a big impact for both specialty coffee and fingerboarding! For coffee, the onset of quality starts from the farmer and processor, to the roaster, and the barista. This chain safeguards and protects quality and transparency from the source. Small lapses in each part of the chain starts to blur the line between transparency and quality. For fingerboarding, so much attention to detail is spent in designing the board, trying to find balance in wheel base, dips, kicks, and pop feel before finalizing the mold. At one point, I have tried to make a mold for myself, but it is easier said than done! Photo by: Mich Sy (NY)  Fingerboard enthusiasts often talk about expressing personal style and creativity. How does this idea compare to the creativity you see in specialty coffee roasting or brewing techniques? (MS)  I see mostly a mix of fingerboarders who enjoy doing clean and technical tricks, while there are others who are very chill, fingerskate leisurely, and do more flow oriented tricks. In coffee, particularly in roasting, this creativity is reflected in each person's style or approach to bring out origin characteristics of the coffee while balancing out the sweetness and over all roast development. Like in fingerboarding, the same fingerboard used by a different person has a unique style and approach, and pretty much can be said with coffee roasting, and even coffee brewing! Photo by: Mich Sy (NY) Specialty coffee has seen a rise in artisanal methods, sustainability, and community-building. How do these trends resonate with the fingerboarding community? (MS)  Communities offer a safe space for people to grow and connect. These communities foster growth and keep specialty coffee and fingerboarding relevant. Whether it is a coffee crawl, coffee meet up, brew party, "pitik" session as they call it locally, or a competition, these events foster a sense of community building, allowing small pockets and niches of people and groups with shared values to further grow and build local communities. Photo by: Mich Sy (NY) In both fingerboarding and specialty coffee, there seems to be a deep appreciation for authenticity and originality. How important is authenticity to you in each of these worlds? (MS)  With regards to authenticity and originality, the context always lies in transparency. One of the grappling concerns with specialty coffee is the rise of infused or fruit co-fermented coffee. While there is a preference for these types of coffees, there is also an opposition on how this mislabeling can mislead consumers. For fingerboarding, there are a lot of companies like Flatflat, CatfishBBQ, Prete, Black River, etc. who have been mainstays in the industry. Their dedication to the craft and sport, as well as vision continue to sustain the industry and community.  Photo by: Mich Sy (NY) Both industries can be considered niche hobbies with dedicated communities. How has being part of such niche communities shaped your perspective or approach to your craft? (MS) I quite enjoy the sense of belongingness and being a part of something greater, and at the same time, the feeling of it being niche also makes it interesting and cool. It's kind of figuring out a hole in the wall cafe or a fingerboard deck maker who is not mainstream. You'd like to keep it to yourself, but the sense of enjoyment is not as great without having a few friends who also appreciate the craft and goods. Photo by: Mich Sy (NY) Can you describe a moment when insights or techniques from fingerboarding influenced your approach to specialty coffee, or vice versa? (MS)  Practice makes perfect! While an ollie or pop shuvit may be easy, other tricks take time to master, and so does making your own good cup of coffee! Photo by: Mich Sy (NY)   Composing a fingerboard setup involves selecting components carefully to achieve a specific feel. How does this compare to the selection and blending of coffee beans for flavor profiles? (MS)  For me, when I set up a board, I try to target a feel or style of play that I would like before setting up everything. My last set up was from 8equalsD with 29mm BRT, Oak Wheels M, South Soft bushings (soft), BRT Blue pivot cup. This pop and feel is very relaxed in play and lands very realistic tricks. It is the same for coffee as well, preferences come to play, but it is mostly drinking for pleasure rather than pure caffeination. On some days, you feel that you are up for an delicate, floral, and elegant cup of coffee, then it will most likely be an Ethiopian Washed or Panama Geisha. While on other days, you would want to have a fruit and berry forward coffee, then it would most likely be a natural processed coffee. Image created with DALL-E (NY) Both specialty coffee baristas and fingerboarders often experiment and innovate to push boundaries. Could you share an example of an experiment or innovation you undertook in either field? (MS)  For fingerboarding, it took a while to find the perfect feel that I wanted. Since most boards accessible locally have high kicks and concaves, it took a while before I got the chance to set up a mellow low concave board, and also to dial in the truck (height and weight), wheel size (for pop and realism), and bushings and pivot cup softness for that soft feeling. For coffee, it also involves finding out what works for you! The same recipe may have baselines but like penmanship, each brewer may approach it slightly differently (flow rate, agitation, etc.). Through the process of trying out different drippers and coffee, you eventually find out what your preferences are, and the likelihood of certain coffees matching certain dripper and extraction styles. At one point I was enjoying blending the same coffee grounds from different grinders because the output would yield different particle shape (apart from size) and this significantly affects extraction, either enhancing mouthfeel/body and sweetness or acidty. Photo by: Mich Sy (NY) What do you believe draws people to appreciate the nuanced experiences offered by both fingerboarding and specialty coffee, and how might this appreciation enhance one's overall perspective? (MS)  For coffee and fingerboarding, there is satisfaction in improving and growing in the craft and this can be very rewarding. Image created with DALL-E (NY) Specialty coffee grapples with balancing novel processing methods with sustainable practices, while fingerboarding evolves with tech like integrating new materials. How do both fields honor tradition while pushing creative boundaries? (MS)  For specialty coffee to advance, it needs to honor its roots/origin while also looking at tech and innovation to evolve and be more sustainable. While coffee has been around for so long, Specialty Coffee has seen a spike in interest much recently. In order to grow, it needs to venture into sustainability, such as hybrids or new cultivar to grow healthy, sustainable, while foreseeing climate change. For fingerboarding, its roots will always be there so long as techdecks continue to be manufactured while remaining accessible and affordable. Mich Sy Instagram: @othermich

We now have so many different ways to apply a graphic on a fingerboard deck. Hand painted graphics, screen printed graphics, heat transferred graphics… just to name a few. Heat transferred graphics specifically, brought a evolutionary change and advantage to the fingerboard market as well as for deck makers. More methods of applying graphics to a deck mean that there are more variety of artwork that can be born to life and not just stay as a dream or an idea in a maker’s imagination. However, a magician’s trick is only magical when the ‘how’ stays a secret. With the adaptation of heat transferred graphics, or should I say, when the “secret formula” of this particular method became accessible to the majority, production and supply of decks that adapted this method sky rocketed. Fingerboard manufacturing not only mirrored the skateboard manufacturing system, it was actually becoming one. ‘Industrialization’ may be the word that describes this phenomenon best. Of course, thanks to this industrialization , competition and/or motivation among deck makers with relatively “high-volume” production also increased (in order to differentiate themselves from others), leading to more options for the consumers to choose from. Furthermore, on the physical aspect of fingerboards with heat transferred graphics provides more realistic wear marks when fingerboarding on obstacles (since it is the identical material which skateboard graphics are made of). This brings the enthusiasts a sense of satisfaction of learning new tricks and seeing the physical wear marks of hard effort. Heat transferred graphics are like typing on a lap top. Modern, quick, and precise. Some artwork are just not possible to create while keeping the details intact without using heat transferred graphics. If you ever saw a Beast Pants split ply with Chris’s artwork heat transferred on top, you would know what I mean. They are truly one of the most beautiful work of art you could purchase on the market today. So what is a ‘heat transferred’ graphic exactly? A heat transferred graphic is where the ink that the graphic is printed on vinyl is transferred onto the deck via heat rolling machine within minutes (this is a similar concept to a laminating machine). (See the video below for more information.) On the other hand, hand painted graphics are like writing by hand on a piece of paper; classic, yet time-consuming. Hand painted graphics take a longer time to apply when manufacturing since it takes time for the paint to cure in order to add another layer on top. This process can take up to hours, even days depending on the style of art being applied. ‘서울’ (Seoul) by Noah Yang - Hand painted graphic Now this column is not aiming to assert whether one method is better than the other. Instead, it is attempting to clarify that both methods are equally valuable in different  ways. To a similar concept, it is like comparing James Cameron’s Avatar  and Christopher Nolan’s Oppenheimer . Avatar  was created with the most advanced computer graphic technology, while Oppenheimer  was literally filmed using FILM. Now does that say one movie is better than the other? Absolutely not. Because Avatar  would not be technologically possible to be created on film, nor Oppenheimer  with Nolan’s philosophy on insisting analog methods. The two directors adapted completely different methods and yet both created masterpieces. See here, it’s not just about the finished product. It is about the correlation of philosophy, methodology, content, inevitable needs of production, and more. It does not make Nolan’s Oppenheimer  more difficult to produce because it uses film, nor does it make Cameron’s Avatar  easier because it uses more blue screen instead of 1:1 sets out in the desert. The time and effort that all deck makers put in (not to mention the trial and error during the process) are truly unmeasurable and surely worth more than what they charge for it on their website. The average cost of 40~50 dollars of a deck does not represent only the cost of material and labour. There is also imagination, creativity, and frustration beyond just the market price. Maybe it is time for us to appreciate more the value of differences within each method, and less discredit one another. At the end, there is only one thing in common among all methods of applying graphics; to unleash the creativity of deck makers and to give joy to the consumers.

Hi, this is Noah Yang here. Founder and Editor of WeOuri. Before we begin with the first story of this new chapter, I feel it is necessary to briefly introduce you to what ‘Maker’s Insight’  is all about. Maker’s Insight  is a branch of our tree where we share the stories and insights of individuals, their philosophies, and the creative backgrounds behind brands that contribute to the fingerboard community in unique ways. To kick-start this new chapter, we invited Philipp Hermes, the creator of Holz Kopf. Philipp crafts outstanding wooden obstacles, incorporating beautiful geometry and design. It is truly exceptional what Philipp brings to the fingerboard community. Here is the story and insight of Philipp and Holz Kopf. Photo by: Philipp Hermes (NY)   Please introduce yourself to our readers! (PH)  Hi! My name is Philipp, I am a 28 years old, self-employed woodturner/woodworker from Germany who runs Holz Kopf. (NY)   Where did the name ‘Holz Kopf’ originate from? (PH)  When starting my business around 6 years ago, I came up with the name and logo during classes at university which I was attending at that time. In a literal sense ‘Holz Kopf’ translates to “wooden Head”, in German it also means “a person who is abstruse“. I choose it because to me personally combined with the logo it represents what I do basically; using my head/brain to build things made out of wood. (NY)   Why did you start making wooden obstacles? (PH) I started building obstacles in the first place because back in the day I wanted some specific ones for myself. When I started fingerboarding around the age of 12 years old, I could not afford a lot of stuff available at the time. However since I got access to some power tools at home, I started building my own rudimentary obstacles and pressing some wooden decks for my classmates. So fingerboarding was what got me into woodworking pretty much – also since my grandpa worked as a carpenter so I always felt familiar and connected with it. Photo by: Philipp Hermes (NY)   Looking at the quality and the design of your obstacles (the ‘Vulcano’, in particular), I can’t imagine how much time and effort you put into making them. Have you always been interested in woodworking since you were a child? Or did it come across your mind after you got into fingerboarding? (PH)  Roughly 4 years ago, so 2 years after opening my woodworking business initially, I got back into fingerboarding and it first started with the idea to develop/work on carbon fiber decks. The skills I learned in the meantime along with access to new equipment enabled me to produce more complex and better quality products. Photo by: Philipp Hermes (NY)   Where do you get the inspiration for the geometry and the design overall of your obstacles? (PH)  As a side quest I was integrating on my own version of the legendary ‘morph vulcano’  made by Max Eschenbach in 2013. After a lot of prototyping, I posted some pictures of the final version and got my first orders in for it – that and the fact that I got to sell it at ASI Berlin eventually really motivated and enabled me to try and expand my repertoire more towards fingerboarding. For the vulcano as already mentioned it is definitely mainly inspired by the morph vulcano made by Max Eschenberger. The geometry to some extent is influenced by the fact that I love woodturning but in general I would say my approach is I try to built things that I would want to use for myself too, and that are in some way or another different from what already exsists. (NY)   Please take us through the journey of creating a new obstacle (from coming up with an idea to the day of the launch). (PH)  It usually starts with a very vague idea or me getting excited about something. That could be a new material I want to use, a new process, shape – pretty much anything. Once the idea is settled, I continue with rough sketches on paper as well as 3D models to get a feeling for the dimensions and proportions. Finally, I gather all the materials I sourced and start building the first prototypes. Then it is a matter of testing it and doing a couple of iterations and changes. At some point if I am happy with the result I take some pictures of it, edit them, and share them to see how people like it. Since I am also running a lot of side projects besides making fingerboard obstacles to financially support myself, I have to rely on selling my obstacles in order to sustain it. For the most part I do not sell any obstacles directly so I partner with ASI Berlin and Curious Fingerboards for the sales. Because of that, the quantity is mainly small batches most of the times, once an obstacle is “established“ or “approved“. Photo by: Philipp Hermes (NY)   What does Holz Kopf and fingerboarding in general mean to you in life? (PH)  Fingerboarding means a lot to me! Because it sparked my enthusiasm for woodworking initially and also enabled me to do it as a profession today. I learned so much from it. It became certainly more than just a hobby for me also due to the fact that the community is just the best! I got to know and meet so many awesome people because of it! Holz Kopf to me means always being up for new challenges, learning new skills and trying new things. I want to be able to enjoy my profession and not walk on beaten tracks. Photo by: Philipp Hermes (NY)   Apart from your company Holz Kopf, who are you as a person? What other interests do you have other than fingerboarding? (PH)  Apart from woodworking and fingerboarding, I enjoy physical activities such as bouldering, skateboarding, and going on mushroom hunts to tell a few. I am always down for a game of chess! I also love good food and cooking with friends. (NY)   Lastly, is there anything you would like to add for the readers? (PH)  I want to thank everyone for supporting over the past couple of years, enabling me to work on all these cool and exciting projects! There will be more to come in the future for sure! Philipp Hermes Instagram: @holz__kopf

For this episode of Maker’s Insight , we invited a craftsman all the way from Banska Bystrica, Slovakia. His name is Simon Kozicka, and he is the founder and operator of Cruiser Joy. Simon crafts brilliant art pieces in a variety of unique cruiser-shaped decks. His work is like no others, the collections he present to the fingerboard community are truly remarkable. Here is the story and insight of Simon behind Cruiser Joy. (NY)   Please introduce yourself to our readers!   (SK)  My name is Simon Kozicka and I am the founder and operator behind Cruiser Joy. I am 34 years of age and currently residing in Banska Bystrica, Slovakia. Simon Kozicka, Founder of Cruiser Joy / Photo by: Marek Veleba (NY)   Where did the name ‘Cruiser Joy’ originate from? (SK)  I think it is pretty self-explanatory and does not need any special decoding haha. Anyway, I try to dig up memories and clarify how it came to be. I went through two or three other names before I came up with this one. At the time I was trying to figure out the name since I was kind of new to the whole fingerboard world and to the Instagram fb community. One of the brands that I immediately stumbled upon was Joycult, and I thought “What an awesome name”. After that encounter, I was thinking of incorporating the word ‘joy’ in the name as well. The first half - Cruiser - came naturally because I knew that I wanted to focus on diverse shapes for my decks. Photo by: Marek Veleba (NY)   When and why did you start making fingerboards?   (SK)  It all started in elementary school when my friends and I were making decks from plastic or metal sheets with sandpaper without trucks and wheels. In hindsight I can see that moment sowed the idea to start experimenting with deck making. A long time after that in high school and later in university I was lucky enough to have materials and tools such as a CNC machine at my disposal so I could create my own molds. In the meantime, I bought my first smartphone, and I was immediately sucked into Instagram and whatever it could offer from the fb community. I used it mainly as a fan of the hobby but also as a research tool to see what was going on and if there were a gap in the market. From my “successful” skateboarding career I was already familiar with cruiser-shaped decks. Every time I tried to skateboard, I would rather observe the shape, concave, and veneer combinations of every deck I came across. The variety it offered, and the creativity behind it all was mesmerizing to me. I didn’t see that same diversity in the fingerboard world as often, especially the different cruiser shapes, so that’s how the whole idea started. I found the gap and I filled it with my very first official Cruiser Joy batch in May 2017. Photo by: Marek Veleba (NY)   Where do you get the inspiration for your art?   (SK)  When it comes to shapes, most of my inspiration mainly comes from the skateboarding world. For example, the very first shape I did, the ‘Piglet’, is inspired by the ‘Beast’ shape by Polar Skate Co. The second, I believe, is the ‘Snapper v.1’. I came up with that as a contrast to ‘Piglet’. Shape like the ‘Old Rat’ is inspired by the old-school, fish-tail-shaped skateboard decks. ‘Sushi’ and ‘Luna’ are ideas from friends I made at the beginning of my deck-making career. The next important part is definitely using interesting and beautiful natural veneer and not covering it up with graphics. Yes, the covering part is happening with full-dipped decks but even then, the veneer texture will peek out when you wear out the colored layer. That was the idea behind the first ‘JOY’ white full-dipped decks. Now let’s talk a little bit about the logo which I created by myself. So far it has been the main graphic theme and the inspiration for the letters came from psychedelic/stoner rock music graphic design and lettering. Check out the band ‘Earthless’ and artist Alan Forbes, you might see what I’m talking about. The use of a circular format is influenced by the fact that the circle as a basic geometric element can be easily used and placed in any composition. (NY)   Please take us through the journey of creating a new collection (From coming up with an idea to the day of the launch).   (SK)  I almost always experience a hard time deciding what veneer combination I will use in a new collection. Sometimes when I am busy doing custom decks or other stuff it might take a few days to find out the combo that feels right. Sometimes I do a few test decks to help me decide and they usually end up in an event support package. After I find the right veneer combination, I prepare the necessary amount of veneer for the whole batch, and I press one after another. The shaping process usually starts after all the decks have been out of the mold. In the meantime, I work on custom decks. The shaping starts by drawing all the shapes on all the uncuts. Next up is the coping saw which I use to roughly get rid of excessive material. Then I proceed to my newly acquired disk sander which helps with sanding off more excessive material closer to the drawn outline. This is still a fast and somewhat rough approach that is followed by hand shaping, the main part and probably the most time-consuming. For this part I use a simple piece of wood with a few different sandpaper grit sizes, my eyes as a shape control, my hands as clamps, a calliper to keep the symmetry in check and a desk lamp which helps to achieve desired silhouettes. The next step - doing nice smooth rounded edges which I do in two staged manners. First is chamfering and second is rounding. No flat surfaces are allowed here. It must be smooth to the touch and smooth to the eye. This whole shaping procedure take three to five days or even more depending on how many decks I decided to prepare for an upcoming batch. Next step - laser engraved top logo, sometimes bottom graphics too, like on the “JOY” decks. Next step - applying a clear coat that may take another few days just because I do multiple layers and every layer requires some drying time. Of course, this is a very interesting part of the whole process because you see the deck and the wood coming alive right before your eyes. What I mean by that is the fact that the first coat will enhance and highlight all the color and textures of every layer. Magical moment every time because every piece is unique thanks to different wood textures. When the deck is nice and dry the final touch is the bottom logo/graphic application which is done with a thin layer of spray paint and again, needs some time to dry. If the bottom graphic is engraved, I usually fill it with the color of the customer’s choice. During this entire process, I am also posting sneak-peek photos on social media stories. When the day of the release is close, I will prepare a post that will serve as information about the date and time for the launch and contain a photo of the finished product as well. Photo by: Marek Veleba (NY)   What does Cruiser Joy and fingerboarding in general mean to you in life?   (SK)  It means my life. Literally. It is all I do now and it’s especially like that after I quit my job last September and started focusing solely on deck making. One of the best decisions I made in my life and I am very thankful for this opportunity. The whole community is truly awesome and supportive. I met and got to know many great people thanks to this little wooden thing. (NY)   Apart from your company Cruiser Joy, who are you as a person? What other interests do you have other than fingerboarding? (SK)  Physical activity is my other hobby. Callisthenics, bodybuilding and maybe a bit of yoga here and there. I am also into spending time in nature. Hiking during warmer months and during wintertime I really enjoy sliding sideways on a mountain, meaning splitboarding and snowboarding. (NY)   Lastly, is there anything you would like to add for the readers?   (SK)  I’d like to thank everyone for the support, all the fans, friends and customers. Special thanks goes to Martin Beckmann and Bastian Stegen, a.k.a. FingerboardTV. I probably wouldn’t be where I am at right now without you. I appreciate you all! Simon Kozicka Instagram: @cruiserjoy_fingerboards

For the first story of ‘Collector’s Appreciation’ , we invited a friend from Colorado, United States. His Name is Jeramy Hastings, who you may also know him as @midnight_arcade  on Instagram. He is a fingerboard collector, an enthusiast, and a father. Here is the story behind Jeramy’s appreciation for fingerboarding. Photo by: Jeramy Hastings (NY)   Please introduce yourself to our readers! (JH)  Hi! My name is Jeramy Hastings. I’m from southeastern Colorado. I ride for Woob & Bonk Benches. (NY)   When and how did you get into fingerboarding? (JH)  I started getting tech decks in 2004. I’ve always been interested in miniature items, so the idea of a mini skateboard was right up my alley. I started skating in 2006, and that’s when I was exposed to something other than tech decks. In 2008ish, a friend of mine that I used to skate with brought a homemade wooden board to the park one day, and he had Nollie Heavy Metal wheels on the setup. That was my first time ever seeing bearing wheels for a fingerboard. After that session, I went home and looked up “pro tech decking”, or something of the such on YouTube. It was from that moment on that I was hooked. I was watching everything fingerboard related. I was so stoked on it all. (NY)   What was your first setup? (JH)  My first setup that felt great was a tech deck competition series that I had burnt the kicks on so they were slightly higher. After that I saved up and bought my first Berlinwood. It had tech deck long board trucks on it, and some random bearing wheels from eBay. Fortunately I still have that Berlinwood! Photo by: Jeramy Hastings (NY)   Can you share the story of how you started collecting fingerboards? (JH)  I started collecting, because when I was a kid I didn’t have a lot of money for all the fingerboard stuff that I wanted. So the only time I was able to get anything fingerboard related was Christmas time and maybe my birthday. When I came back to the scene in 2016, I was overwhelmed with all the new companies, and quality products that were available. It wasn’t just Blackriver, Berlinwood, FlatFace, and Yellowood now. I had a job, and started picking up all the stuff I wanted as a kid, and some. (NY)   Why do you collect fingerboards? (JH)  I collect fingerboards, because everyone does it differently. There are so many techniques to making a fingerboard, and I love seeing the different ways people express themselves artistically. So many graphic styles, and the different ways that people have applied their graphics has always interested me. I also tend to collect boards from companies that I love most. Photo by: Jeramy Hastings (NY)   How many fingerboards to you have in your collection? (JH)  I have roughly 222  boards in my collection at this moment. (NY)   What do you look for in a product or a brand (e.g. quality, history, etc.) when adding it to your collection? (JH)  What I look for first is if the graphic/bottom ply connects with me. Usually if it’s a company that I already like, then the quality aspect of it is plays a part later on. If it’s a company that I’m not familiar with, and they are making banger graphics then I’ll buy one. If it doesn’t pass the quality check then I’m good on just having one. But if the quality is great, then I’ll continue to support, and collect. (NY)   In your collection, which product(s) has the most meaning to you? (JH)  Shit. I’ll say any of the boards that have been gifted to me from friends, and boards that were specifically made for me. That goes with any of the fb gear that I have accumulated over the years. If it’s been gifted to me, or made specifically for me; I still have it, and cherish it. Photo by: Jeramy Hastings (NY)   Do you have any advise for people who are starting to build their own collection? (JH)  Yes. Don’t start collecting in the mind set of later on flipping your item for a high price. Collect for the love  and passion  of fingerboarding. If there is a specific company that you love, and want to support; buy their products when you’re able to, and keep going from there. Support the companies that bring the scene quality items, and show originality. Most importantly support what makes you  happy. No one else. (NY)  Lastly, apart from fingerboarding, who are you as a person? (JH) Apart from fingerboarding, most importantly I’m a father. My little man is my entire world. We do everything together! Luckily, he’s developed an interest in fingerboarding over the years, and I’m stoked that I get to share something so important in my life with the most important person in my life. I also love horror movies and heavy metal. I’ve made a lot of friends within fingerboarding simply based off of those interests. It’s always rad getting to talk to those who like the same shit as me. Jeramy Hastings Instagram: @midnight_arcade