¡Nuevas fechas para los cursos de DW! Inscripciones hasta el 28 de noviembre de 2014.

DW Barcelona Curso Otoño 2014:
Tipografía Suiza y Proyecto Editorial

Noviembre 2014 — abril 2015

Dirigido a diseñadores gráfico, industriales, arquitectos y todo aquel con pasión por el mundo de las letras y sus posibilidades.

La tipografía, juntamente con la fotografía y el dibujo, han sido tradicionalmente las herramientas del diseñador gráfico. Con la revolución digital y el acceso al ordenador, se han confundido estas herramientas de oficio, que exigen un intenso conocimiento, con las herramientas que hacen posible generar soluciones gráficas (software). Esta democratización del diseño ha generado un gran intrusismo profesional y un empobrecimiento gradual de los comunicados visuales que constantemente nos rodean.

La tipografía es, además, la única herramienta exclusiva del diseñador gráfico, ya que otras como la forma, el color o la composición son comunes a todas las disciplinas artístico-creativas. Por ello, y ante un panorama de competencia salvaje, el dominio y control de la tipografía la convierten de herramienta a arma decisiva y factor diferencial del buen diseñador.

Este curso recoge la tradición tipográfica suizo-alemana, y sienta las bases para todos aquellos que quieran hacer una aproximación seria al diseño de comunicación, o para otros que, ya inmersos en este área, quieran paliar este déficit de formación, dotándolos de los conocimientos y de las habilidades técnicas necesarias para la concepción de proyectos gráficos con profesionalidad y excelencia tipográfica.

El proyecto que se desarrollará con los conocimientos adquiridos será un libro de autor en el cual el diseñador ejercerá también de editor, con las posibilidades que eso otorga al proyecto.

Leer más …

DW Barcelona Curso Otoño 2014:
Identidades Visuales Dinámicas

Diciembre 2014 — marzo 2015

Dirigido a diseñadores gráficos que quieran dominar la herramienta del presente/futuro para la realización de identidades visuales.

En los últimos años el perfil del diseñador gráfico se ha ido difuminando. Al diseñador se le exige ser capaz de todo y de nada al mismo tiempo. La pérdida de significado que ha sufrido la palabra “diseño” ha desembocado en la necesidad de especialización en el marco de las ramas "tradicionales" de éste: publicidad, diseño gráfico, diseño editorial, diseño interactivo o "motion design". Estas áreas son cada vez más específicas, concentrándose en objetivos claramente definidos. Consecuentemente, la figura del diseñador integral de los años setenta ha muerto y con él el conocimiento de las herramientas básicas de comunicación, creando una gran grieta que el mercado laboral actual penaliza.

Las identidades visuales son proyectos de diferente cariz que engloban campañas, colecciones editoriales, identidades corporativas o institucionales. Todos este proyectos presentan una amplia gama de aplicaciones que tienen que funcionar conjuntamente para lograr un objetivo común de comunicación pero, que a la vez utilizan los diferentes medios para modular la comunicación y aprovechar las posibilidades óptimas de comunicación de cada apoyo. Es por este motivo que el diseñador de identidades visuales necesita construir estos sistemas complejos desde el dominio y la ejecución perfecta de las herramientas básicas de comunicación, utilizando todas estas técnicas, tecnologías y disciplinas.

Leer más …
1 / 7

Elio Salichs, participant of the DW Wintercourse 2013 — Flexible Visual Systems for Visual Identities
1 / 2

A class of their own

Interview with Anna Richardson Taylor
for Creative Review, August 2013

Martin Lorenz and Lupi Asensio of design studio TwoPoints.Net are applying their considerable experience in European design education to their very own study programme. A year into the ambitious venture, they talk to Anna Richardson Taylor about their vision…

Setting up your own educational establishment is not every designer's idea of a dream venture. But for Martin Lorenz and Lupi Asensio of Barcelona-based design studio TwoPoints.Net, teaching has been intertwined with their everyday practice for a number of years – and in 2012 they took one step further, launching their very own school, Designwerkstatt (or 'design workshop' in English).

Asensio and Lorenz have been teaching regularly since 2005, starting off with workshops at different design institutions, schools and festivals, and later as regular teachers at different design schools in Barcelona alongside their studio work. In 2009 they realized they want to exert more control over the way they teach and ended up creating two different postgraduate degrees, for the Elisava Design School in their home city. But even as directors of a masters degree the duo felt limited by the institution's wider programme, and didn't always agree with the way things were done, says Lorenz. "We had total freedom about the teachers and the hours and subjects. Still, there were other components we did not have control over that are extraordinarily important for us – the space/environment, the team building and interaction through activities and so on. That's why we decided to control everything."

So DW was born – an educational incarnation of TwoPoints.Net the studio, incorporating the duo's collective experiences of design schools in Spain, Germany and the Netherlands – "we've taken the best of each teaching system," says Asensio.

"It's all pretty much us which you see in Design Werkstatt, because it repeats what we know best," says Lorenz. Fo example, the choice of Berlin and Barcelona as the main locations for the courses is ideal, as both cities are attractive destinations in their own right for anyone looking to study in a vibrant city. But the decision to opt for those locations was more to do with their respective backgrounds (German Lorenz and Spanish Asensio) than a calculated move.

"DW is not really like a company, like we had this business plan," Lorenz explains. "One of the things that's important to us is that we do not become this machine, where what counts most is the amount of chairs you have in the classroom. We run the school, but we also teach, so we are responsible for our product."
DW offers two longer courses of 70 hours in Barcelona: Visual Systems for Flexible Visual Identities, taught by Lorenz and Cristobal Castilla, and Swiss Typography & Editorial Projects taught by Asensio.

In addition, it runs two-week courses in Berlin, as well as a series of shorter workshops in different countries – last year, they visited Manila, Jordan and Doha, for example. "The workshop formula is good for people to get interested and inspired, and get them out of the daily workflow," says Lorenz. "But if you really want to learn something you need to take some time. That's sometimes difficult if you work already, but there's always a way to do it."

The school also works with a handful of carefully selected guest teachers, such as Castilla, Dutch designer Donald Roos who teaches type design for DW, and Berlin-based designer Martina Flor who recently ran a lettering workshop. Finding the right teachers – the perfect blend of practicing professional who also knows how to teach – is a challenge, admits Lorenz. "We recognise that this profile is hard to find, because in a lot of masters degrees you have big name designers, but then they don't know how to teach." A good teacher should not try to impose certain aesthetics on students, but give them room to learn, adds Lorenz. "You might not like the aesthetic, but if the design is right, you have to approve it," he says.

DW is not a school in the classic sense, Lorenz and Asensio say. It is a place for designers who seek to improve their skills in a favourable environment. Its approach to teaching is shaped by some core beliefs, they add.

'It is more useful to teach how to learn than to teach rules' is the first tenet they abide by. "A culture of criticism and discussion is essential, because education doesn't stop after a masters degree," says Lorenz. "You have to learn how to learn, and be able to analyse things you see and look at them in a critical way. That's what we try to achieve – to change the way of seeing things around you."

In addition, they are keen to foster a friendly, informal atmosphere in small groups, usually of no more than 12 – "creating an atmosphere in which sharing interests and doubts is fostered often results in a much richer class than initially expected" – and encourage co-authorship, joint responsibility and being pro-active.

DW is aimed at professionals, with the courses in Barcelona (most taught in Spanish, but moving towards English) mainly attended by southern Europeans and some South Americans, and the Berlin-based, English-taught courses attracting participants form northern Europe and a more international background.

One of the main challenges in setting up DW was attracting the right audience, says Lorenz, one that is "very demanding with us but with themselves too, that are open for reflection, discussion and seek formal innovation but never put this over the communication".

The flexible visual identities course, for example, aims to instil in students a more conceptual and creative way of thinking. "It's about the changing your way of thinking," says Lorenz. "(About thinking) of items and applications that don't exist yet, instead of having a static logo. The students learn how to walk with open eyes through the world."
"We want to attract people who are really serious about the profession, who are hard workers, and who take the role of the designer in society seriously," adds Asensio. "And everything is concept and content related – if it's made in the classes, there has to be a reason."

This ambition is echoed by the DW students of the past year. "Within the school, the student feels free to create, to invent, to make creativity advance beyond the limits," says designer Laia Guarro, who took part in the typography and editorial projects programme. "Reality should not be a burden. I learnt a lot of things, (especially) that you have to follow your own judgement and your own ideas."

As DW and its programme evolve, Lorenz and Asensio are keen to mix things up and make it a bit more complex, to develop a combination of classes that complement each other. They will still specialize in editorial projects and flexible visual systems, but they want to expand their stable of guest teachers, and maybe add some strategic design courses.
This year, DW also organized a workshop during Typo Berlin looking at tactile visual systems which was well received, with the participants presenting their projects in front of the Typo audience. The course challenged its participants to create 3D visual systems without a computer. They were free in their material choices, but had to come up with a system using fixed and variable parameters. The mix of interesting lectures and "real" classes with hands-on project experience "worked really well", says Lorenz.

It's early days, but Lorenz and Asensio are clearly in it for the long haul. As Asensio says, "Sometimes in interviews I get asked 'which designer influenced you most?', and I always mention teachers. For me personally, Design Werkstatt is the most important project of TwoPoints."
1 / 10

Final projects of the participants of the DW Barcelona Course — Swiss Typography and Editorial Project, 2013

DW at TYPO Berlin 2013

It’s always tough getting up on stage and public speaking, but when you’re up against Neville Brody in the conference schedule time slot, it’s next level nerves. That’s exactly what Lupi Asensio, Martin Lorenz and four very brave students were faced with.

Founded in 2007 by Asensio and Lorenz, TwoPoints consider themselves an “International Bureau of This and That”. True, yes, with “this” being the exceptional design work they have produced to date and “that” being the network of creativity; amongst it fellow designers, musicians, photographers, developers, writers, as well as academics and students. Studio aside, design education and thinking is a big part of what they are about.

Lupi Asensio and Martin Lorenz, organizers and teachers of DW, founded their studio TwoPoints.net in 2007 and live between Berlin and Barcelona.

Established educators as much as they are practitioners, they were both dissatisfied with the ideas and approach across the various curriculums. They began to wonder and question how design should be taught in the present day. Not everything can be learnt solely through studying, and with design, there needs to be a substantial amount of doing. So they started Design Werkstatt.

Last year TwoPoints featured as speakers at Typo Berlin. This year they are back to show and tell the outcomes from their Design Werkstatt three day workshop – “Tactile Systems: Tools for Flexible Visual Systems”.

The aim of the workshop was to encourage and find new sources of inspiration and possibilities. To break the machine routine and revert back to hands-on manual processes. How can visual systems be built by using common and tactile materials such as paper, cardboard, wood, and found objects?

The brief was simple.

- Consider the basic elements of a system i.e background, colour, object.

- Select one or several non-modular common materials.

- Create a series of conditions and apply these materials and make a three dimensional “physical system”.

Experiments included: twisted tights, kaleidoscopes of boxed syrups, letters and ladders, shadows made with dots, and greenery across different planes, all of which still worked as functional design systems. What was interesting was the diversity in material choices and the differences in approach between the students. The level of thinking and how far they pushed and explored ideas in such a short amount of time was also very impressive. It was also fantastic to see them up on stage presenting their own work.

Visual systems can, but do not necessarily have to lead to two dimensional corporate identities. Form, space and 3D ID’s. More of that please.

See more at the TYPO Berlin blog.

Photography by A. Blumhoff
Article by Maggie Tang
1 / 5

DW at TYPO Berlin 2013 !!!
Photography by A. Blumhoff

Being a designer is like being a chef.

Donald Roos is one of the DW teachers. I interviewed him in 2011 for 2/4 de 8.

What’s the story of VetteLetters?

When I was studying at the KABK I founded the ‘Letterdispuut’ (in English something like “Social Type Society”) together with Onno Bevoort. During our study, we used the ‘Letterdispuut’ as a kind of label for all our assignments. At the ‘Letterdispuut’, we were very serious about type and typography, but at the same time we also joked about those nerdy people who are too serious about type. So in fact we made jokes about ourselves; it was a strange kind of contradiction.

The ‘Letterdispuut’ label gave us a lot of freedom. We were no longer tied to what people expect from the work of art students, we just made “letterdispuut-design”. Our favorite courses were of course type design and typography, but we didn’t really like the courses about spatial/dimensional design.

When we were in our fourth and final year of the academy, we had to come up with a graduation project. We gave ourselves a challenge: we want to graduate with an A for type design and typography (of course), but also with an A for spatial design. In order to do that, we had to combine both disciplines. That’s how we came up with our project “LettersAtWork”.

LettersAtWork was a fictitious type foundry that sells 3D typefaces. The idea behind it was that owners of retail stores could buy 3D typefaces for the signing of their storefronts. We designed eight 3D type families, all based on mono-spaced constructions. Retailers didn’t have to worry about the spacing of the letters; they could just put the letters straight next to each other and be done. And guess what, we graduated with an A for spatial design. After we left the academy, there was still a bit of a buzz about the Letterdispuut for a few years; and new students also came up with small type-clubs. The great thing is that a group also inspired us: “26 Letters”, the famous type group guided by Gerrit Noordzij when he was a teacher at the academy.

After the KABK, Onno and I both went our own ways. There were no fights or anything like that; we just had other interests in life. I still had this fascination for the ambivalence of being serious about things while putting them into perspective, like we did at the Letterdispuut.

Beside type, I also love food and to earn money during my study I worked in the kitchens of French orientated restaurants. I basically helped the chefs cook. In those restaurants, everybody was very serious about ‘haute cuisine’. After work, I often went to döner kebab restaurants with my colleagues. Eating in a fast food restaurant after a working in an haute cuisine kitchen also put a lot into perspective. There is always a strange atmosphere in döner kebab and fast food restaurants that intrigues me. In a way they’re breaking with all the conventions of haute cuisine restaurants. They tell it like it is: “You’re hungry? We have a lot of food! Come in and eat as much you can!” To illustrate that, they put up all these different kinds of signs and pictures. Those signs and pictures have a serious message, but they are also funny and a bit strange.

When I started the VetteLetters font foundry, I was aiming for an atmosphere that would combine a döner kebab restaurant with the Muppet Show. You see I’m also a fan of the Muppet Show. The concept of a theatre show where everything is going wrong is brilliant! But while everything goes wrong in the Muppet Show, the Muppets are also very serious about their performance. And, as an added value, I think the greatest thing about the Muppet Show is that you also see the backstage part. Everything is part of the show!

So that’s basically how I see VetteLetters. There are a lot of font foundries out there that make really nice typefaces and who also take themselves very seriously. If those foundries are haute cuisine restaurants, VetteLetters is the döner kebab restaurant. And we’re proud of it!

VetteLetters is a Dutch word combination. It means something like ‘Fat/Heavy Fonts’, but ‘vet’ means also ‘cool!’ so you could translate it into ‘Heavy Fat Cool Fonts’.

We’ve been selling fonts since 2009. Since then, Amsterdam based designer Donald Beekman joined ‘the board’ of VetteLetters. So we’re now Donald & Donald from VetteLetters, but we also sell fonts made by Jacques le Bailly (Baron von Fonthausen) and Martin Lorenz (TwoPoints). We’re lovin’ it!

What has food in common with type?

Being a designer is like being a chef. Your job is to create a delicious dish, or a least a dish that is appreciated by the guests. In order to create a good dish, you need the right ingredients. Ingredients like colors, photography, illustrations, form, paper, sizes and last but not least: fonts. Some chefs create their own ingredients; they have their own cows or homegrown vegetables. Designers can also make their own ‘home grown’ ingredients. They can make their own special colors, pictures or illustrations, or design their own fonts.

One of the most exciting aspects of type design is when you’re putting your typeface in a design for the first time. You’ve worked on it for a long time. Then you’ve generated the font, and you’ve selected it in Illustrator or InDesign… and how amazing: you can set text with your own homegrown font. You can make it bigger, smaller, select it and give it some nice colors.

You can buy tomatoes in the stores and they can taste very nice, but when you grow tomatoes yourself they taste really special. To get good tomatoes, you have to work for it. Give them water, protect them against too much rain, and make sure the plants can grow. But then, after a long time, your tomatoes are on the cutting board in the kitchen. You can use your own tomatoes in your dish. It sounds very simple and basic, and so it is. Making your own stuff gives you a good feeling. To use your fonts in your design makes it truly your design. I like the idea that as a designer, you can create your own stuff.

You studied at the KABK, which is internationally known for its type design education. When Gerrit Noordzij’s students published their first typefaces in the early 80s the school seemed to have made its mark. The former students of the KABK are now teaching type design. Among them Peter Verheul, Frank Blokland, Just van Rossum, Erik van Blokland and you. What defines “Haagse Letters” (or: ‘letters from The Hague’)?

“Haagse Letters” are haute cuisine! But type designers from The Hague know that they are a little nerdy and also take space to experiment. But all experiments are based on the pointed nib pen (expansion) and broad nib pen (translation). These are contrast principles educated by ‘the godfather of type’ Gerrit Noordzij. You can find these contrast principles in all the type designs of Noordzij’s followers. Although my type designs are no text-typefaces, they are based on the contrast principles. You can see that most clearly in my first typeface ‘Spaghetti’, which is based on the pointed nib italic, like a Bodoni. Even when I cut the potato font Bint, I kept the contrast principles in mind. The contrast principles are like the bones of letters. It’s like anatomy. You can’t draw a human body if you don’t understand the bones and skeleton of the human body. The same thing goes for type design: if you don’t understand the principles, the construction, the skeleton, you can’t draw type in the right way. That’s how type designers from The Hague, including myself, look at type design.

Of course, there are more ways of designing type than only the ‘haute cuisine’ The Hague style. For instance, Donald Beekman, who is not a The Hague designer, makes really interesting typefaces. All his typefaces are based on his own principles. In a way, he is freer in designing typefaces because he doesn’t stick to the The Hague style. Working together with him has been very refreshing!

What do you like about teaching?

Teaching is learning! When I graduated from the academy, I decided that I would stay a student for the rest of my life. In fact, I think every designer or artist is a student for life. Always trying, thinking, searching, sketching, retrying, rethinking. My new role is ‘teacher’, but I feel like a student. When you teach, you have to explain things to students that seem so automatic and natural to yourself. So I have to stop and think to myself: why is it that we do it like this? I have to find words and ways to explain. That process gives me new insights, as well. And I love the fact that after graduating 10 years ago, I still visit the academy.
When I was at the academy I learned a lot from my teachers. When I’m designing they are still like small men on my shoulder, whispering things into my ear. I’m hoping one day there will be a designer, who has me on his shoulder. And perhaps that designer will also teach a next generation of designers. I think it’s in the DNA of designers that they always want to learn and explore, but also that they want to tell others what they have learned and explored.

After graduating at the KABK you studied Culture & Media at the University of Amsterdam. Why?

I graduated from the academy when I was 21. I had the feeling I was not done yet and I wanted to keep being a student. The academy was a lot of practice, so I thought it was good to learn more about theory. Studying at the University could give me more insight into theory and philosophy. Courses about the science of movies, television and new media really inspired me. Also the theory about high and low culture (or haute cuisine and döner kebab) gave me some interesting insights. The theories of Gilles Deleuze were really an eye opener. His Rhizome theory explains exactly how people navigate on the Internet. The rhizome is a root that follows its own way. It’s a metaphor for how people follow their interests. They find something, and that gives new possibilities, new routes they can follow. Everything is connected! That idea makes it very logical for me that things like food and fonts can be connected and even combined like we’ve done in VetteLetters. And the same goes for interaction design and typography.

You worked at the Buro Petr van Blokland, a former teacher at the KABK. Did he influence your understanding of design and design problems?

Petr is one of the teachers who are still sitting on my shoulder. I’m not programming like he does, but I did pick up on bits of his way of thinking. It’s not about understanding design; it’s about understanding the process behind the design. It’s the same as type design, where you have to understand the anatomy inside the letters. Don’t solve the problem by looking at the outside, but dive right into the problem. Understand the process and find ways to influence that process. Don’t try to solve the design problem directly, but take some distance, analyze the problem. Find a solution that also answers the next question and the questions after those. You don’t know which questions those will be, and neither does your client. But by understanding the problem of the client, you can design solutions that are prepared to give an answer to every next question.

Another thing I learned from Petr is that you can be your own client. You can create your own products. You can give yourself assignments with a more complex level than your clients will ever do.

And you can do it entirely in your own way, without concessions to the client. By doing many of your own projects, you can create your own world. My world now exists of VetteLetters, RoosBros., Typebase, How Can I Be Social?, (type) workshops & teaching.

The Muppet Show is a platform that’s flexible enough to produce a new show every single time. I’m trying to put that concept into all my projects: making flexible platforms that can host new things. VetteLetters is a platform to work on typefaces, but also for type cooking experiments, cooking, talking about cooking… we’re now brewing our own beer. Beside the brewing process, we are designing typefaces for the label design. 
RoosBros. is a blog by my brother Benz and myself. He is a lighting designer. He creates light plans in buildings. There are some similarities between our fields: light and type design are everywhere, but nobody sees it because people are so used to it just being there. With the blog, we’re making people more aware of those ‘invisible’ things.

Besides VetteLetters you have a design studio called Bureau.Donald, which specializes in web design. Web design needs to be highly functional. You got to know the users’ behavior and kept pace with the technological progress. A huge part of what web design really is, is invisible to the user. What do you like about doing web design?

I wouldn’t say I specialize in web design. Almost every project I’m doing is happening on screen, but Bureau.Donald also makes music videos or leaders. A lot of projects are web-related though. Making websites and putting them online also means that you’re part of something bigger. A virtual world with entirely different rules. Simple websites can become very popular while other websites that have been built with a lot of money will never reach anyone. A simple YouTube video by a student could get more hits than a video produced by a big agency. Everything is constantly on the move. Information will change every second. Possibilities are everywhere. Screen sizes change with the arrival of new devices. It is really exciting to create (web) designs that can handle these changes.

It works like this: If you understand the process, you can influence the process. Like when you were a child, playing in the water, using stones to make dams. How exciting it was to change the flow of the water. You didn’t change the ocean, but you did influence the flow of some water. That made you a part of a bigger entity. And as long as you believe in what you are doing you can do a lot.

Filtering and organizing information will be the next big thing on the web. Web designers should create things that organize the bulk of information. You can influence a part of the flow, but not the whole thing. You can’t change the information overload, but you can put stones in the information stream to influence the flow and make things readable and legible, for instance by adding good interface design. We are doing that right now with our new project: How Can I Be Social? We create ‘Social Scenarios’ for organizations so that they can manage their social media communication. As a designer you can think about those kinds of things as well. Social Network accounts are the business cards of the 21th century.

When you make a typeface, you will never know exactly what another designer will do with it. But you do influence the total design a little with your typeface. Internet makes it possible for me to sell my typefaces to someone on the other side of the world. I like the idea that my typeface could be a part of a design in New Zealand. It’s all possible. The more possibilities there are, the more there is to explore. But be aware: don’t take yourself too seriously!
1 / 1

10 Rules for Students and Teachers

10 Rules for Students and Teachers

At DW we are trying to create the best possible environment for design education. This undertaken can never be considered accomplished, but rather got to be reiterated continously. The beautiful "10 Rules for Students and Teachers" should remind us that both students and teachers need to work on it.

Even though it says it is "from John Cage", the list shown above isn’t entirely written by John Cage, as Maria Popova () states, but originates from artist and educator Sister Corita Kent and was created as part of a project for a class she taught in 1967-1968. It was subsequently appropriated as the official art department rules at the college of LA’s Immaculate Heart Convent, but was commonly popularized by Cage, whom the tenth rule cites directly. Legendary choreographer Merce Cunningham, Cage’s longtime partner and the love of his life, kept a copy of it in the studio where his company rehearsed until his death. It appears in Stewart Brand’s cult-classic Essential Whole Earth Catalog, published in 1986, the year Kent passed away.

Rule 1: Find a place you trust, and then try trusting it for awhile.

Rule 2: General duties of a student — pull everything out of your teacher; pull everything out of your fellow students.

Rule 3: General duties of a teacher — pull everything out of your students.

Rule 4: Consider everything an experiment.

Rule 5: Be self-disciplined — this means finding someone wise or smart and choosing to follow them. To be disciplined is to follow in a good way. To be self-disciplined is to follow in a better way.

Rule 6: Nothing is a mistake. There’s no win and no fail, there’s only make.

Rule 7: The only rule is work. If you work it will lead to something. It’s the people who do all of the work all of the time who eventually catch on to things.

Rule 8: Don’t try to create and analyze at the same time. They’re different processes.

Rule 9: Be happy whenever you can manage it. Enjoy yourself. It’s lighter than you think.

Rule 10: "We’re breaking all the rules. Even our own rules. And how do we do that? By leaving plenty of room for X quantities." John Cage

Helpful Hints: Always be around. Come or go to everything. Always go to classes. Read anything you can get your hands on. Look at movies carefully, often. Save everything — it might come in handy later.
Login  •  Built with Seedbox