Breed vol 01

BLEED
Has reasons to bleed
Jeremy Prasatik
No stranger to light
CYNE
The revolution ﬁght
Kureb
Made in Brazil
Catalina Estrada
Once Upon ATime
Dopepope + Michael Gross + Alicia Tishenko + Decyplz + & More
maro’six
vol 01

Illustration
p02
breed
01
CONTENTS vol 01
p16
p18
p32
Photography
p42
p64
Design
p74
p86
p92
Music
p102
p110
Fashion
p116
Street
The characters
2nd & 3rd p120
BREED is a wide-reaching tool
to share artistic views in a global
scale. During the production,
I’ve met some interesting
& friendly individuals who
contributed in shaping up our
contents. Now, it’s ﬁnally here...
the premiere issue, supports &
feedbacks are welcome.
BREED...together we grow!
Arga Yudhistira
| Editor In Chief
Thanks:
Kureb, BLEED, Kenneth, Catalina,
Jeremy, CYNE, Mike, Alicia,
Michael, Joe, Jonas, David,
Decyplz, Jacob, Jacky...+more.
Cover illustrated by BLEED
www.breedmag.com
breed@breedmag.com
Pasadena, California
1+626+628+7653
BLEED
Jeremy Prasatik
Catalina Estrada
Alicia Tishenko
Michael Gross
Dopepope
David Silvosa
Zion Graphics
CYNE
Decyplz
Cléber “Kureb” Horta

breed: How did the agency first
start out?
BLEED: In 2000 a collaboration
between 5 people with
different background came
together and ended up within
only one month into bleed.
All five had experienced from
agencies and were a bit fed
up being told by the agencies
to suggest safe solutions to
clients, and most importantly
solutions we didn’t even like.
This urge to make a difference
and actually be honest about
ourselves turned into bleed.
breed: Has it been a challenge
to keep up with global trend?
BLEED: I guess we never
aim for keeping our look
international, the importance
to bleed is to make the most
out of each job. If it turns out
that the result fits into updated
global design it’s a bonus.
BLEED
breed
03
Illustration+ interview by Arga
www.bleed.no

breed: How competitive
is the design market
in Norway as well as
Europe in general?
BLEED: The competition
in Central Europe is
by far tougher than
Norway, having said
that the competition is
always hard....
breed: What stimulates
clients most in choosing
BLEED?
BLEED: No matter what
the clients are selling we
want to challenge the
clients within their
category. Hopefully we
live up to this 7 out of
10 times. Clients wants
to get pushed a bit, and
in most cases they turn
out very happy if they
get something else than
they expected.
breed: It’s obvious
that you have strong
portfolios in all design
categories. Which
category are you most
notable for?
BLEED: That’s very
tricky to comment.
Both webdesign and
printwork are notable.
breed: BLEED
“challenges the borders
between commercial
arts & art projects”.
How do you deal with
commercial minded
clients?
BLEED: The commercial
minded clients often
wants “the next thing”,
or “what’s hot”. It’s
our job to serve the
client with this in
mind. Thinking and
performing this will be
all a designer at Bleed
can wish for.
breed: You’ve been the
recipient of numerous
awards & recognitions,
which is the proudest?
BLEED: Being short
listed in Cannes/
cyberlions with Nike is a
proud moment.

breed: In the U.S., Hip
Hop industry, from
music to lifestyle
products has influenced
the youngsters greatly.
What is your general
comment on this
market?
BLEED: The Hip Hop
culture has a great
influence in clothing,
slang, street-wear
and music all over the
world, and it’s certainly
represented in the
graphical context too.
I guess it’s the attitude
and the way of
non-comprimising that
attracts and reflects.
Personally I like the
total attitude hip hop
represent!
breed: Number ten on
your manifesto is “Bleed
for the revolution!” Can
you guys suggest a
manifesto for our
magazine?
BLEED: “Breed- Tie the
knot”
(TIE THE KNOT
Tying the knot of the ropes
in the marriage bed.
James in Japan writes: ...
the priest performing the
wedding would bind the
bride and grooms hands
with rope during the
ceremony. In modern day,
you will often see the priest
place a sash around their
hands rather than rope,
and it is from this that the
saying comes. Although the
practice is not as common
as it was, depending on
your denomination it is still
done.
breed
07

Illustration+
Cléber “Kureb” Horta
Cléber Antunes Horta Barbosa,
also known as Kureb, freelance
graphic designer currently
living in Juiz de Fora (MG)
began to work in 1999 in some
visual projects involving night
club events.
Worked in local advertising
agencies as LAB AD, Mamute
Studio and ISO4 Propaganda
with clients like Club Privilège
(www.privilegenet.com.br),
Gerdau (www.gerdau.com.br),
Oi ClickCelular, SENAI Modatec,
ElysèeModels, Muzik, and
Amnesia and a lot of other local
companies. At this moment,
he’s actually working in some
projects in Art Department
of Federal University of JF,
and preparing to launch his
own site, www.kureb.com. He
has generously contributed
exclusive illustrations for our
music articles.
www.kureb.com

Illustration+
Jeremy Prasatik
Jeremy Prasatik is a project
manager/creative director by
day for norwal InterChange,
Inc., a communications based
development company in
Addison, Texas, and by night is
a freelance designer working
under the persona jp33. Jeremy
has worked on a wide range of
projects for companies such
as Cadillac, Hummer, Saturn,
Chevrolet, JC Penney, Inﬁnium
Labs, Wharton School of
Management, Relevant Media,
Josh Gracin, Trace Adkins, Split,
Emerica and Etnies to name a few.
www.jp33.com

breed
35
www.ziongraphics.com
Catalina Estrada was born and raised in Colombia, where
she graduated in Graphic Design. She has been living in
Barcelona for the past 7 years where she also graduated
in Fine Arts. She works freelance and also teaches
illustration at IDEP (graphic design school in
barcelona). Her work has been published in two books
just released by Die Gestalten Verlag: Illusive, and
1001 Nights. Also featured at the Communication Arts
Advertising Annual among many others. You can see
more of her work at www.katika.net
Catalina Estrada www.katika.net

News+
Seattle | April 14th
Once Upon A Time

breed
43
Alicia Tishenko
I was born in Kiev, Ukraine, but I have been living in New York City for the past
12 years (since ‘93). I am presently attending the School of Visual Arts, where
my major is Advertising. I enjoy being involved in many areas of the visual
design process, in particular: publication design, illustration, and photography.
Photography became a hobby when I stopped dancing ballet around my late
teens. (In classic Russian tradition, my parents enrolled me in classes at age 7,
hoping for me to become the next Makarova.) Photography is a natural way
of expressing the world I see. I don’t believe I will ever be as skilled as Ansel
Adams, but I take photos that I appreciate the quality and the signiﬁcance of.
When looking at other artist’s photography, I take notice of originality, technical
skill, subject matter, and presentation. Watching and learning from other artists
making their vision into reality is inspiring. Simple beauty is inspiring.
Photography+
www.thupamodel.com

Michael Gross grew up in
Montclair, New Jersey, and
after spending a year traveling
cross-country, settled on the
west coast , spending his time
bartending and exploring
photography on the side.
In 2000 he moved back to
the east coast to pursue a
career in photography, which
culminated in a degree in
professional photographic
illustration from the Rochester
Institute of Technology.
Graduating in 2005 , Michael
moved to New York City
where he lives and works
today. His extensive travels
around the US and throughout
Central America broadened
his interests in photography,
shooting people, still lives, and
locations. His current portfolio
can be viewed at www.
michaelgrossphoto.com .
Michael Gross
breed
65
Photography+
www.michaelgrossphoto.com

breed
75
Dopepope
www.dopepope.com/galleries/

David Silvosa is cabdesign, an
architect & designer. This 23 years old
from Spain working at ‘Carlos Ferrater
& associates’ architecture ofﬁce. His
works exhibit at FAD | Barcelona,
Spain: 14 lofts , diseño intacto [www.
intacto.org] | MuVIM Valencia, Spain:
mesa ‘05 with online exhibition
to include Computerlove: RS04 &
Computerlove: 14 lofts. Awarded by
scolarship fundación caja arquitectos
in 2004 & premis habitàcola at ﬁrst
prize with ‘14 lofts’. Publication also
featured on ‘Nuevo Estilo, Diseño
& Arquitectura no 78’ , a Spanish
architecture magazine. What’s next?
Well, an artwork collaboration titled
‘Human?’ & more publication at
Spanish interior design magazine
‘Eben’. Page 90-91 are collaboration
with Marcos Olmo, Juan Seara and
Sergio Suárez.
Design+
David Silvosa
www.cabdesign.net

breed
93
ZION GRAPHICS
Design+
www.ziongraphics.com

illustration by Kureb
interview by Arga
Music+

breed
105
breed: Can you tell us how
CYNE linked up?
CYNE: CYNE met in the
summer of 2001, to record
a demo of tracks that
would eventually end up
on future 12” and album
releases. Although we were
introduced through mutual
friends, Akin and Cise had
been writing lyrics together
since high school (and
formed a number of hip hop
groups in Gainesville over
the years). Enoch and Speck
met in high school, started
making beats for an emcee,
hosted open mic nights, and
DJed around Gainesville.
As a result, all four of us
crossed paths a number of
times, but never worked
together. It was out of desire
to build something in our
community and a creative
frustration that brought the
four of us together.
CYNE
www.cyne.net

a comfort zone – meaning: being
less formulaic about our songwriting
approach, lyrics, samples, themes, etc. For
certain songs, we challenged ourselves
to record live musicians, to be sure to get
the exact sounds, tones, and feel we were
trying to achieve. We didn’t want to be
lazy, compromise, or let song concepts fall
apart.
breed: How do you maintain the fight
against the mainstream industry?
CYNE: It has never been a conscious effort
for us to “fight” the mainstream industry
necessarily. We make records first and
foremost that we enjoy and believe in, and
we hope that other people will like them
and find something they can
relate to in them. And, just
the process of releasing
music, independently, is a
stand against the chase for
commercial dreams and
false perspectives on how
music and art should be
distributed and provided
to willing or interested
audiences. At the rate at
which music is shared,
it’s ultimately about a
connection or a validation
or sharing, not about
pushing product. If you have
to and choose to, you can
prove and sustain yourself,
financially, by getting out
on the road, touring and
meeting people face to face.
breed: How can there be
more of hip hop on political
and social issues today?
CYNE: Music that deals
with political or social issues
must be created out of a
genuine need or feeling
for it to really work and be
effective. There are plenty
of artists who pigeonhole
themselves by making
breed
107
breed: The group’s early
musical influences?
CYNE: We all come from
varied musical backgrounds.
None of us were trained
properly with musical
instruments, but each of
us absorbs and listens to a
wide range of genres and
eras of music, that it has an
impact on our sound and
songwriting direction. To
try and list this would be
difficult. For hip hop, I think
we all see artists like Wu-
Tang, Nas, Outkast and De
La Soul as major influences.
But, we also have all been
influenced by a number of
other non hip hop artists,
which again are much too
vast to fully list, but would
include: Kraftwerk, Bad
Brains, Marvin Gaye, John
Coltrane, Stevie Wonder,
Gang of Four, Stereolab,
Prince, DJ Shadow, Curtis
Mayfield, Fugazi, Miles
Davis, CAN, Hendrix, Robert
Wyatt, Fela Kuti… but, the
list could go on forever.
breed: How much evolution in ‘Evolution
Fight’ comparing to your previous
albums?
CYNE: With this record, there was a focus
on creating a more cohesive album than
“Time Being”. We invested a lot of time in
making sure that the tracks all fit together
and worked as a whole, where in the past
we would maybe just do it on a more track
by track basis and see how they would
fit together after the fact. “Time Being”
was a much earlier documentation of
how the four of us approached music as
well. At that point we were still fairly new
to working with each other and knowing
what we were each going to bring to
the table, on top of it being our first real
attempt at making a full length record.
“Evolution Fight” was a different process
entirely in the fact that we were much
more of a unit, and broke out of

CYNE: Our good friend, Florencio Zavala
(www.brownlikeme.com), has done all of
our recent artwork. Flo has continued to
understand and work alongside our music
and concepts – his art has always been
an extension of each of our releases. Our
older records, on the Botanica del Jibaro
label, were designed by La Mano Fria
(www.betabodega.com).
the not too distant future,
though. Our goal is to
have a few short/scattered
tours between now and
its release. Then, we are
gearing up for a full tour
towards the end of 2006/
early 2007.
breed: Any artist you’d like
to collaborate with?
CYNE: Ghostface, Outkast,
El-P, TV on the Radio,
Prince, To Rococo Rot,
etc. Again, this list could
be endless, for us. The
collaboration process opens
the platform for shared and
new concepts of musical
direction, and breathes new
life into your approach. A
lot of our more recent works
have been collaborative
efforts (Daedelus, Depth
Affect, Giardini Di Miro,
Nujabes, The Mercury
Program).
breed: CYNE has some of
the most creative album-art
out there. Who handles the
art direction?
breed
109
records going against any
and everything that fits
their “political” agenda.
Obviously it is great if a hip
hop artist tries to tackle an
issue that is meaningful and
important to society but not
everyone is Chuck D. Some
artists go so overboard with
it that they beat the idea
or subject matter into the
ground and it comes across
as preachy or over the top.
Finding a balance where
you can effectively make
people nod their heads
and simultaneously learn
something or be provoked
to change your perspective
on something is a very hard
feat to pull off.
breed: Any plan of touring
the US / Europe this year? If
yes, any confirmed major
cities yet?
CYNE: We’re working
on completing our next
full-length album, and
taking significant time to
pull it together. Hopefully
there will be some 12”s or
something to that effect in a

breed
111
illustration by Kureb
photography by Chi Chan
album art by Bill Uechi
Music+

ST. EVE
Music just ain’t what it used to be…
but independent hip hop seems to
be steadily pushing the envelope.
Without the glamour and bullshit of
most mainstream rap, independent
hip hop artists such as Decyplz
continue to “keep it real” and
deliver quality music with a genuine
message.
Decyplz consists of producer
m[ ]ndless and emcee Saint Eve, both
representing Fullerton, Southern
Cali. With their debut album “Middle
Ground,” they have joined a circle
of peers who strive to bring hip
hop to the next level. “’Middle
Ground’ is neither mainstream nor
underground,” explains Saint Eve, “it’s
Decyplz
www.decyplz.com

a balance that we hope to contribute
to the hip hop world.” The album is
full of raw emotion; just imagine a
heated voice painting over classical
melodic beats. “This 10-track release is
a testament to the pains and struggles
of life,” says m[ ]ndless, “speciﬁcally
our lives. But it’s something everyone
can relate to because it’s real.”
The group wrestles with the role
of starving artist, juggling day jobs
and the perfection of their art. Not
enough money to pay the bills, and
not enough time to perfect the art.
Hopefully “Middle Ground” will bring
balance to Decyplz as well as the
declining world of hip hop.
M[ ]NDLESS
breed
115

Street+
Passing through downtown Los Angeles
in one rainy day between 2nd and 3rd
street by Little Tokyo, I couldn’t help
stopping to snap images of the artful
wall. What one might think of it’s not
being too friendly of a neighborhood,
the streets host some of LA’s finest
graffiti works and hidden eating spots.
Yes, some of the most authentic and
decorative restaurants. The next few
pages showcase chapter one of several,
since we couldn’t capture all sections of
wall to fit in this issue.
2nd & 3rd st.
Los Angeles, Cali
breed
121
story by Arga

Thanks to all crew
participated, to all artists for
submitting their pieces, to
readers and subscribers.
Copyright © 2006 BREED.
All other Copyrights are
property of their respective
owners or contributors.
BREED Magazine
3202 E. Foothill Blvd.
Pasadena, CA 91107
U.S.A.
www.breedmag.com
breed@breedmag.com

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