Filipino by Design

PilDesign Meeting Feb.11,2008

2008-02-16T11:21:00.000-08:00

Raymond Virata's Demo reel

2007-12-02T10:12:00.001-08:00

This is my animation demo reel. It was last updated in 2000. I haven't animated in while. I just dug this up and had to convert it from S-VHS to DVD to quicktime. I'm also digging up my other old projects for people to watch and enjoy.

The song "Good Thing" is by Fine Young Cannibals. The animation is by Raymond Virata. This video is for demo purposes only.

More stuff on http://www.youtube.com/woodcutart

The Filipino Approach

2007-01-03T02:20:00.000-08:00

Here are more quotes from the book, Advertising in the Philippines: Its Historical, Cultural and Social Dimensions by Visitacion R. de la Torre, which may apply to our exploration on Filipino Design.

“Advertising has no nationality

As a marketing discipline, advertising it should be noted, assumes no nationality, geography, race or creed. It is the product, service, person or institution being advertised that is subjected to such characterization. Thus there is no thing as American advertising, French advertising, Japanese advertising or Filipino advertising, save perhaps, on the onset, in look and language.

The Filipino Approach

A Filipino ad? Is there such a thing? Frankie Lacambra, a creative man who now heads Link Advertising, Inc. holds, “A good ad has no nationality because a good idea is universal-simple, powerful, timeless and it belongs to the world. But a Filipino look is always welcome… Employing a Filipino approach means using a concept and theme that is Filipino and articulated the way a Filipino would… A Filipino concept or theme revolves on core or basic Filipino values, ideals, customs, traditions, even idiosyncracies and set in a Filipino environment.”

The Book

2007-01-03T01:45:00.000-08:00

Advertising in the Philippines: Its Historical, Cultural and Social Dimensions by Visitacion R. de la Torre is a comprehensive volume on the Advertising Industry in the Philippines. It examines in detail the industry’s birth during the Spanish era (turn of the 20th century) and how it acts as a barometer and instrument of change in Philippine society.

Interesting notes from the book:

Just like today, the ad biz is just as competitive as industry practitioners “heckled and harassed each other in an attempt to outdo each other.”

Towards the later half of the 20th century, Filipino advertising took its on its own identity as it started shifting from being American clones to one reflective of the Filipino culture and times. Despite coming up with world-class campaigns, the industry still suffers from “syndicated thinking,” where creatives still “copy” American campaigns.

“Sensitivity to local market conditions stunted the growth of advertising creativity.”

In 1987, when the People Power Revolution of the previous year prompted a new constitution, a provision characterized the industry as “impressed with public interest and shall be regulated by law for the protection of consumers and general welfare.” The law recognizes advertising as a powerful medium, apart from its business of selling, must be socially responsible, “promoting common good and self-reliance.” The constitution limits the ownership of agencies to no less than 70% ownership by Filipino nationals, “to protect the public from an indiscriminate and unhampered flow of ‘colonial’ advertising since most of the country’s largest advertising agencies are multinational corporations. Management is also limited to Filipino citizens."

“Direct comparison (of brands) is not allowed.” I remember years ago with I was in Marketing research, Filipinos are not comfortable with direct comparison ads. It has something to do with the cultural trait of being non-confrontational.

“That shall be the day when more Filipino advertising men and women would overcome their ‘Puwede na yan’ (that is good enough) attitude, that temptation to be content with mediocrity… As it is, there is this lack of consistency in the quality of completed ad material; for example, some commercials and print ads are very well made but most suffer from poor art direction or bad directing and acting or unsatisfactory reproduction. With better funding also, better facilities and equipment as well as better trained staff shall not be difficult to come by”

More to follow...

When I grow up, I want to be in Advertising...

2007-01-03T00:41:00.000-08:00

True. So true. Someone must collected responses from a team building session.

Advertising in the Philippines

2007-01-03T00:10:00.000-08:00

Links to Advertising in the Philippines

Introduction to Advertising in the Philippines from the Philippine Information Agency

http://www.pia.gov.ph/philinfo/phadv.htm

A forum on Philippine advertising in Skyscraper City.

http://www.skyscrapercity.com/showthread.php?t=314033

Interesting question "What if your client’s product does not perform, can the ad agency be held accountable?" Though the article's author gives a textbook answer in defense of the agency, some clients I know would pull their advertising. In a results oriented business and a world of tightening budgets, the first to go is advertising.

http://money.inq7.net/features/view_features.php?yyyy=2005&mon=10&dd=07&file=1

Adding lumpia to your copy...

2006-03-10T00:01:00.000-08:00

This ad is running in the March issue of Filipinas Magazine. Try using lumpias and tubaws in your ad. Heheheh!

Mango Madness: The Fusion Art Show

2006-03-04T18:21:00.000-08:00

From Feb. 20 to Mar. 4, 2006,Group Hug Productions featured my shadowbox work at Cafe Infusion in San Francisco as a fundraising effort for art education.

I met Jesse Ford six years ago when he was looking for animation interns for GHP's "The Dawg" project. We got together with other computer animation students from the Academy of Art College and San Francisco State University. Unfortunately, we weren't able to finish the project because students had different schedules and people just came and went.

Jesse saw my shadowbox work at PilDesign's P2:Independence show at the San Francisco Public Library in 2004. He wanted to set a series of art fundraisers in a cafe setting. Along with my work, the exhibit will feature GHP's past and current projects and the work of Tom Klump, who designed GHP's promotional material. Cafe Infusion housed our work and sold mango smoothies and fruit omelets which part of the proceeds went to the benefit.

(L-R) Graphic Designer Tom Klump, Artist Raymond Virata, Groug Hug Productions' Founder Jesse Ford... this picture is so... Benetton!

Spike, Better with Wine

2006-02-26T20:22:00.000-08:00

Proof

2006-02-17T11:16:00.000-08:00

There have been conversations and debates about the validity or purpose of defining Filipino design aesthetics. Most people feel that it is really important. At the same time, some think that is not necessary. Those who support the research believe that it is important to express our culture through our design work. They strongly feel that by fusing their culture into their client-related projects, they would not just enhance their portfolio but this approach could also benefit the design community. On the other hand, those who are less enthusiastic feel that having Filipinos and Filipinas in the field is good enough and it should end there.

I strongly believe that the divide will end once we prove the worth of contributing our Filipino culture to the design world. I think the best proof of this is if a major company (example: Nike or Apple) begin to incorporate Filipino design aesthetics into their mainstream work. And it would help, too, if the designers utilizing our aesthetics get paid a lot. I am not advocating "selling out" our aesthetics to the "Man." I am simply saying that if our look and feel begin to be utilized the same way as Swiss or Japanese design in day-to-day visual communications project, people would begin to see the validity of the research into our Filipino culture.

Sans Computers

2006-02-12T05:18:00.000-08:00

I can't believe that I spent almost 20 years dealing with computers (6 years in undergrad, grad and work). I now can't stand them, even Apples--I used to worship and collect them. I started in the late 80's using Apples for graphic design. Then I ventured in multimedia (still using primarily Mac's) and special effects (mostly Silicon Graphics machines for this stage). And then of course the web. I thought that I enjoyed myself in the design/animation/web computer world. But looking back at it now... It was more of a love/hate relationship. Love because I really liked the instant gratification aspect of computer generated work. Just think of the wonders of Photoshop. It's relatively easy to use and you get to see your creations instantly. The hate part is the fixing. I found myself troubleshooting half of the time. I find that dealing with the quirks of the computer or the learning curve of software just take away from creativity. I know that some people actually savor this aspect of the trade (God bless their souls because we need them), but not me...

You might ask what does this have to do with Filipino design aesthetics? I say a lot. I began re-examining my relationship with computers the same time as I started my research on Filipino design aesthetics. The more I realize that most of our culture's art and design work are still hands-on, the more I became less computer dependent when it came to my creative projects. I started to draw and paint more by hand as I study Filipino crafts work (textiles, pottery, etc.). I also began to crave real textures vs. virtually creating them via the computer screen. Hence I began to paint bolder and thicker strokes with my acrylic paints. One of the things that finally made me abandon the computer is the fact that I never mastered drawing with the mouse or tablet. I can't even begin to tell you how liberating it is to illustrate by hand again. I feel like I have been freed from a very long prison sentence. This may seem so basic but after almost two decades of being convinced that most creative solutions come from computers... Well, one might just stay in cyberspace.

So thanks to my research in Filipino design aesthetics, I am now spending less time creating art via computer. And because of this, I am enjoying my work more. It goes beyond that... I love what I am doing now! I use to say this when I was in computer graphics but I think that I was just trying to convince myself--spending seven years in college will make you do this (just think about the student loans). Yep, I am being true to what I am saying. A year ago, I had seven Mac's in my studio. Now I only have two. I had to make more space for me to paint. Bye computers...

Foo for Thought from the P3 Forum

2005-12-23T06:21:00.000-08:00

Getting together after the panel talk, Dec. 21, 2005: (Bottom Row L-R): Raymond Virata, Al S. Perez (Middle Row): Gloria G. Galang, Bren Bataclan, Estela Manila, Gerard Talampas (Top Row) John "Spike" Lomibao, Eduardo Datangel, Alberic Rivera

We would like to thank everyone who joined us for our panel talk and reception! We're looking forward to seeing you again at our next show!

P3 Opening Statement (Dec. 21, 2005) by John "Spike" Lomibao

P3: Our Ongoing Journey in Pilipino Design Aesthetics

A diverse collection of graphic and fine art, “P3” seeks to provide snapshots of evolution in the artistic journeys of 6 creatives. Third in a series observing common themes found in Pilipino American design, this exhibit furnishes additional material from which one can gain further insight into the basic attributes of the design aesthetics.

Pilipino design aesthetics are not subtle. The colors are often loud, the hierarchy not so obvious, and it appears much more organic or hand done. At first glance, it may seem too busy. It is quite different than a minimalist Swiss design. Surprisingly, given time and careful examination, the aesthetics become identifiable and begin to make sense. Reflecting life driven by necessity, the overall Pilipino look-and-feel is the product of the challenges and promises of an emerging country. The cultural vibrancy of the Philippines can be attributed to its numerous influences of other cultures over the centuries, including Spanish, Chinese, and Japanese.

American aesthetics with respect to design also reflect themes experienced by its people: freedom, diversity, opportunity, multiculturalism. Coupled with Pilipino sensibilities, these themes give rise to a new and distinctive aesthetic starting with ethnic roots and ending in something quite different than either culture by itself.

For the Pilipino American designer, the fusion of both cultures often brings about an interesting work ethic: it is a circuitous oscillation between stability and clutter, but the resulting art of such tension is positively eclectic. Often the art reflects constraints in resources, yet the quality and execution in the finished piece is kept at a high standard. All of the different historical and cultural experiences of Pilipino American designers culminate in art that is intriguing because of its ever-unpredictable order within chaos.

Though each artist has experienced a unique path in stylistic development, common threads are noticeable. Woven into the fabric of an artist's work are techniques and sensibilities learned along the way, but it appears there is also a somewhat "tribal" quality—originating from cultural imprinting established over many previous generations—that serves as the basis of all creative endeavors.

As a testament to this ancestral pull inherent in our design, a special poster campaign was produced specially for the P3 collection. Starting with tourism as a theme, each artist was to create a travel advertisement, with the intention of enticing Pilipinos to visit the Philippines. Whether that meant a return back or a first-time visit was of no consequence—both of them effectively meant "going home." The assignment visually expresses not only geographic journeys but the influence of internal journeys of the designers on their art today.

Pildesign is happy to celebrate its five year anniversary and grateful to Estela Manila and the San Francisco Public Library for the invitation to exhibit its work for the third consecutive year.

Meeting at the San Francisco Public Library discussing future PilDesign projects, Jan. 2006 (L-R) Gerard Talampas, Raymond Virata, Gloria G. Galang, Cynthia Tiangco, Bren Bataclan.

Comments from the P3 Forum

"Would mainstream clients be interested in Filipino Design?"

"There are not enough Art critics back home."

Elements of Ethnicity

2005-12-13T12:14:00.000-08:00

I came across "De Bahay of Estyle" a webpage by fashion designer Armand Jala where he compiled a list of things which are influences of Filipino Design and can be incorporated into design whether it be "architecture, fashion, graphic design" or any other design discipline.

"In general, the elements of Filipino art and culture that influence me are:

The materials: bamboo and rattan.
Tropical shells that are used in many art motifs.
Basketry and weaving.
The beautiful embroidery on Filipino clothing like the Barong Tagalog.
Roman-catholic iconographic art and religious art brought by the Spaniards.
The textiles and patterns of the Moros in the southern Philippines.
Colorful, precious stones used in jewelry and art.
Bamboo fans with colorful artwork.
Malay, Chinese, and Muslim influences..."

P3: Our Ongoing Journey in Pilipino American Design Aesthetics

2005-11-15T11:54:00.000-08:00

PilDesign's P3: Our Ongoing Journey in Pilipino American Design Aesthetics

San Francisco Public Library

December 1, 2005 to January 31, 2006
3rd Floor, Filipino American Center
San Francisco Public Library
100 Larkin St.
San Francisco, California

PilDesign is promoting the Philippines through a series of inspiring visuals of the Pearl of the Orient. Fil-Americans, Immigrants and Foreigners will be enticed to visit the motherland though the sights of her historic landmarks, luscious food and rich art and culture.

P3 Exhibit at the Filipino American Center

A panel talk on Filipino Design aesthetic research will be held on December 21, 2005 at 5-7 PM. Artists' reception will follow from 7-7:30PM.

Pildesign is a group consisting of Filipino Americans and Philippine born designers and artists seeking to define Filipino Design Aesthetics. The members are also finding more ways to incorporate their Filipino culture into their work, both professionally and for personal, artistic goals.

Planning meeting (L-R) Mark Sta. Ana, Al Perez and Gloria G. Galang (on cellphone Bren Bataclan)

This year's exhibit will feature work from Al Perez, Gloria G. Galang, John Lomibao, Eduardo Datangel, Raymond Virata, Bren Bataclan, Milbert Mariano, Mark Sta. Ana, Christian Alcala and Gerard Talampas.

Pananaw-The Philippine Journal of Visual Arts

2005-11-11T01:04:00.000-08:00

Though it's considered a periodical, Pananaw (Vision), the Philippine Journal for Visual Arts, is printed as a slick hardbound book. Each page is designed well and features beautiful art, it will be a shame to print it on anything less. Published by the National Commission for Culture and the Arts, the journal gives the public access to beautiful and provocative artwork. It also provides insight and history of Filipino Art.

Despite it's exquisite presentation, it doesn't come out regularly. It's first issue came out in 1997 and its fourth issue only came out in 2002. It's not cheap either, at $60, it's not exactly a price for the public the book wishes to reach.

In the first book, here are some interesting excerpts:

The Pinoy Visual Artist and the Asia Pacific Century by Emmanuel Torres

"With the rise of Folk Modernists, the Angono Group and Social Realism, narrative/didactic approaches to artwork increased, specially in nationalist protest art under the Marcos regime, Exponents of mixed media flourished as much as of installation work using indigenous materials-found objects, ready mades, junk- and drawing inspiration from folk ethnic and popular sources. Native themes and images persisted to form the basis of a more assertive nationalism, or 'Filipinism'..."

ASEAN Aesthetics by Paul Blanco Zafaralla

"The pluralism that define Philippine aesthetics is a verdict of its long period of cultural history. Through the centuries, several cultures imploded into the country from animism to the present demands of the cyberage.

Ancient Philippine aesthetics was inscribed on bamboo nodes, farm and household implements, on outer walls of houses, etc. Spaces were almost always filled up with shapes-major and minutiae.

During the 333 years of the Hispanic period, Filipino aesthetic sense was almost always riveted on Jesus Christ, thereby revealing the people's Christocentric culture."

ASME Top 40 magazine covers of the past 40 years

2005-10-17T11:25:00.000-07:00

Just an off-topic post, but essential info for us graphic designers. The American Society of Magazine Editors has just chosen their Top 40 covers of the past 40 years. The number one cover was the Jan. 1981 Rolling Stone cover of a naked John Lennon kissing Yoko Ono by photographer Annie Liebovitz. Number two was the August 1991 Vanity Fair cover with a nude and pregnant Demi Moore. Number three was the April 1968 Esquire cover with Muhammad Ali being stuck with arrows while in his boxing trunks. Wait a minute, all these covers have naked or near naked people on them, if you want your cover to sell, put a naked person, hahaha!

What Filipino Design Should Be

2005-10-16T19:06:00.000-07:00

In looking for more resources on the web for Filipino Graphic Design (believe me it's like looking for a needle in haystack but you have to look for the haystack first), I came across a blog from another discipline of design. The post was made by Dylan Yap Gozum, chief design consultant for Vatel Manila, an events production company for weddings, debuts and other formal gatherings. Though interiors and events design is different from graphic design, the principles of design written is similar to the things we are trying to achieve.

According to the post, the goal is "understated elegance." The guiding principles of their design are "1) Simple and tasteful; 2) conversation-friendly and comfortable arrangements; and 3) Magical and dreamy but not over-the-top."

I agree with some of the points Gozum has raised and we can apply to graphic design. He mentions that Filipinos love to fill up our homes with things in every nook and cranny. In my advertising years, I have seen different clients trying to fill up every space of print ads with as much info as possible. To them, negative space is not a counterpoint, it is wasted space. The "production number act" can be applied to young designers as well, using all the cool tools available that the communication strategy is lost.

Click here for more of "our guiding principles of design" in detail.

Weaving the Web

2005-10-09T00:41:00.000-07:00

Ask any Filipino web designer, and they know or are somehow connected to the Philweavers, the largest bunch of organized Filipino designers anywhere. How come I've never heard of Filipino Graphic Designers Guild or Art Directors Guild (maybe there is... and I'm not a part of it, heheheh)? In the short time, the internet has been up, Filipinos have quickly adapted to this fast growing medium (adapation is one trait of Filipino Design, I will write more on this, stay tuned).

According to their site:

"PhilWeavers (PW) was created in October of 1999. Over the years it has evolved into what is now the Philippines' unofficial non-governmental, non-political representative for web design and webcentric visual communication. Today, it serves a worldwide community of Filipino Web Designers and in doing so, it aims to:

* Raise the standards of web design, professional practice, and ethics raise the professional status of the Filipino web designer.
* Further the appreciation of Filipino web designer's professional achievements.
* Extend web design's contribution to understanding among people.
* Promote the exchange of information, views, and research contribute to design education - theory, practice and research coordinate matters of professional practice and conduct.
* Establish philippine web design standards and procedures.
* Protect and improve web design professional fees to protect the livelihood of its practitioners.

Philweavers is an online global network of Filipino web designers. There are more than 300 active members in a number of countries that share common concerns, commitments, and standards."

You guys are an inspiration, mabuhay!

Get Lost in a Mosaic of Philippine Fine Art

2005-10-08T13:00:00.000-07:00

PhilippineArtists.com

This is an extensive virtual fine art gallery put up by DRW Networks of Toronto, Canada to design and host websites for Filipino artists, collectors and galleries. It is sponsored by the PNB Remittance Company of Canada. It's so full of button links, artists aim for your attention and sponsors scream "see me!"

It also features links to accalimed artists Anita Magsaysay-Ho and Bencab

There's a lot of artwork to see on this site, even works from Fernando Amorsolo.

Announce your gigs

2005-10-04T22:48:00.000-07:00

PilDesign's P2:Independence Planning Meeting (L-R) Al, Spike, Karyn, Alberic. (And on speaker phone in Boston) Bren. (Al's House. San Francisco, July 2004)

Announce your upcoming gigs on this site. If we can reach your event by car, mass transit or by foot, we will make it!

Lucille Tenazas

2005-10-04T22:24:00.000-07:00

You can't do a site on Filipino Design without mentioning Lucille Tenazas, the one of the biggest names in the graphic design field.

According to Lilia.com and the Tenazas Design website:

"Her work is widely regarded for its unique approach to graphic design which is considered rigorous, thoughtful and provocative. Her design reflect an interest in the complexity of language and the overlapping relationship of meaning, form, and content. By merging the poetic and the pragmatic, Tenazas achieves a fluid and flexible approach to design, one that is human as well as critical."

She is widely respected in both Europe and America, both east and west coasts. She was chosen as one of the ID Forty, in ID Magazine's 1995 selection of the 40 leading design innovators. From 1996-1998, she was the national president of the American Institute of Graphic Arts (AIGA).

I was taking a typography class at the Academy of Art College when my instructor Mike Kohnke mentioned her during lecture on the history of type design. I mentioned it to my boss Lisa Yuchengco and asked if we ran an article on her in Filipinas Magazine. My boss said we featured her years ago back in 1994. She's well sought after and hard to get a hold of.

When I was laying out an article on Tony Robles and Carl Angel's book "Lakas and the Manilatown Fish", I had to get a picture of Lucille since she designed the book. I left word with an assistant if I can get Lucille's picture, he said he'll get back to me to see if they had any. A couple of days later, the phone rang "Is this the art director? This is Lucille Tenazas." The lids of my eyes pulled up to its apex as this strong woman's voice shot through the phone. As I listened to her concerns about the picture, one thing kept repeating in my mind "You are talking to Lucille Tenazas. Don't. Say. Anything. Stupid." The article just mentioned her as a designer but didn't talk about the design in detail, so she felt it's okay not to have a picture, if I needed a picture I can use the one on the jacket cover (but I used another photo instead).

http://www.tenazasdesign.com

The Mother of All Links

2005-10-04T22:21:00.000-07:00

What I am putting now is the greatest resource for anything Filipino online.

Ken Ilio's Tanikalang Ginto (golden chain or links) or Filipinolinks.com

Since 1994, Ken has linked more than 23,000 Filipino websites and even categorized them, helping millions of countrymen worldwide finding things Filipino online.

Recently, Ken has been chosen as one of 50 Asian movers and shakers by Asia, Inc.

Congrats and thanks Ken, for adding my websites to your links!

From the AIGA site: what others think

2005-10-04T00:46:00.000-07:00

The original article Southeast Asian Design Reflects Diversity is by William Harald-Wong, published on May 1, 2003.

This is what he wrote on the Philippines:

"The Philippines

The Philippines has always been, from the viewpoint of neighbouring Southeast Asian countries, slightly out of the radar screen. This is because of its perceived distant geographical location, and also because it occasionally announces itself to be the only Christian nation in Asia - somewhat out of synch with its largely Taoist/Buddhist/Muslim neighbours. (Philippines, of course, is quintessentially Asian, with many indigenous peoples and a large Muslim population in the south).

Again, the advertising industry reigns supreme. Because of the consumer-driven nature of its economic growth, shopping malls and consumer-based companies generate the most work for graphic designers. The most successful work incorporates strong emotional values (family relationships are important) and humour.

Jollibee, the biggest fast-food chain in the Philippines, has beaten multinationals such as McDonalds and Burger King at their own game by aggressively franchising and tailoring its food to the Filipino palate. It is successful in many parts of the world, especially where Filipinos are concentrated. Therein lies a lesson for the rest of the region.

Filipinos are known to be artistically and musically inclined and these inherent characteristics have produced excellence in the entertainment industry, performing arts, fine arts and crafts. Unfortunately, society has not given graphic design its due recognition. Many Filipino graphic designers, who have been educated in the USA or who are working in the Middle East, do not return home.

In recent years, the web design community has been highly active - there are many community websites and online magazines for Filipino designers, e.g. www.philweavers.net , www.halfproject.com , www.kakosa.com and others. One only need to look into these websites to realise that there is electrifying energy and creativity zapping around in the Philippines."

Googling Filipino Design

2005-10-04T00:38:00.000-07:00

PilDesign's P1 Exhibit Setup: (Front L-R) Al, Tonette, Dino, Estela, Gloria (Back) Spike, Raymond. (San Francisco Public Library, March 2003)

The problem with looking for Filipino Design resources is that you have to be very specific. Filipino design not only encompasses the graphic arts, you also have architecture, furniture, fashion and a whole gamut of things with a jeepney, a fiesta, the national tricolor, lucky red or anything with people power yellow. Despite what you think, it's design. Design is art with a purpose.

I've been googling for content and emailing contacts who I've met over the years. I've already made a lineup of what I want to write. Just wait, this will be fun.

Pilipino Design Aesthetics By Bren Bataclan

2005-10-03T10:09:00.000-07:00

I am taking on Tibor Kalman's challenge to widen the lens of design. Tibor asked designers to relearn what was taught to us in design schools and to look beyond design annuals for inspiration. Tibor felt that only a very small segment of designers' work gets highlighted and praised, while most work--which could be stronger, more important examples--is left out of design schools, shows, publications and, eventually, the design history. I want to take on Tibor's challenge because I would like work from hot, humid, tropical countries, like the Philippines, to become part of the mainstream design community. Pilipino designs should begin to win international design awards. Good design is good design and it should not come only from colder climates.

For more: www.bataclan.com

Looking for Filipino Design

2005-10-02T19:29:00.000-07:00

Hi folks,

I put this blog site up as a resource guide for Filipino Design. You can post your findings or links to sites discussing Filipino Design. I know there's a wealth of stuff out there. You can also post pictures.

Raymond