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Samuel Lucas, Illustrator / Graphic Designer Interview

Interview with Samuel Lucas, Illustrator / Graphic Designer. | by Sebastião Belfort Cerqueira

Samuel Lucas is a very busy graphic designer, but a happy one. Which makes talking to him a freaking pleasure . He took a little time to tell us his story and it’s basically the story of a dude who got to become involved in the work of some of his heroes. How do you beat that?

I know you basically do freelance stuff, but I’ve learned that now you're piling up some official jobs on top of that?

I know what you’re talking about but, well, to tell you the truth everything is pretty much freelance. Even with Thousand Islands Records [Canadian label], where I’m an art director, it’s still freelance, they pay me by the project. But it’s my choice. I worked briefly in an advertising agency but it just wasn’t my thing. No freedom, no artistic freedom. With Vazva, the spanish clothing brand, it’s the same type of arrangement. At one time, before the corona panic, I was doing four different collections or drops a year for them. I knew that throughout the year I’d be working for them during certain periods, which is cool for a freelancer, because it helped me fit the rest of my work around those dates. With the stuff I’m doing for Cruzade Skateboards it’s pretty similar.

Speaking of Cruzade, it’s funny because those graphics caught my eye recently and I had no idea who was doing them. They sort of reminded me of some Creature graphics but maybe a little more cartoonish.

Yeah, I’d been following their stuff pretty much since they started because they were working with a Spanish artist I thought was really good. I had thought more than once that I’d like to be able to work with them sometime and then one day they just sent me an email. We hit it off really quickly and got to work. But right now, man, the skateboard market is pretty insane. I just finished a collection for Cruzade in late April that’ll only be coming out in 2022. They don’t have enough raw material, enough wood to keep up with the demand.

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Yeah, I’d heard similar stories. But going back, I’d like to ask you how you started. Were you always drawing a lot, was there any particular gig that made you realize that you could do illustration for a living?

Well, I’d say I started when I was in high school, around 2009. We had this website for promoting punk shows and that’s when I began paying more attention to the bands I was listening to, learning about them and I remember noticing the Vans Warped Tour posters, how they looked. Then at about the same time I got into my school’s students’ union and there I was involved in actually organizing concerts. The first one we did was a Fonzie [Portuguese skate punk band] show. We had to draw a poster and there was no one else so I just thought I should give it a try. I still remember, the whole poster was done on Paint. But it must’ve worked, because just through word of mouth I started getting requests to design posters and other stuff for other Portuguese punk bands.

Eventually I won this international contest to design a merchandising line for Etnies. The prize was simply them going through with it, like actually producing and distributing the line like they do all their product. That gave me quite a bit of visibility. And I used it to open some doors. I’d get in contact with bands and be like “hey, I did this, what do you say?” From 2010 to 2014, while I was in college, all the money I made I could just spend on partying and going out. After college, and especially after having worked with big names like NOFX, The Casualties or No Fun at All, I thought maybe I should hold on to this more seriously, because it was what I enjoyed doing and I had been doing fine so far.

Your style definitely makes me think of a lot of 90s punk albums, and 80s skate graphics, Jim Phillips comes to mind... were you looking at the work of any particular artists or was it more a sort of vague influence from a whole era?

No, you’re right there. Jim Phillips was for sure someone I paid a lot of attention to. Him and his son Jimbo were both probably my main inspirations. There were also some other guys I really liked, like Sean Cliver, Brandon Heart... then more on the punk music side Horsebites (Richard Minino), Dan Mumford, Godmachine... I mean they’re all different but it’s also useful to be able to adapt a little bit according to each client’s needs.

I was looking at your stuff and thinking, this really is illustration. It’s not a drawing or painting that someone puts on a record cover or a skate deck, it illustrates an idea or tells a little story. How do you get to that? For example, for a record, do you talk with the band, do you get to listen to the album?

Yeah, usually they’ll send me the album while it’s still in production. Most of the times I’m either in contact with someone in the band or with a manager or someone like that and they’ll give me a starting point, a basic idea that I’ll explore. It’s usually a simple process. After the initial briefing we send the design back and forth a couple of times until it’s done. For example, if there’s an album that’s going to have a big booklet with all the lyrics and a lot of pages, I try to imagine a graphic solution that’ll run through all of it, something that’ll make sense from the cover, through the booklet and the cd itself, to the back cover. Right now Thousand Islands is preparing a compilation album. And “thousand island” is the name of a well-known type of salad dressing. So we’re redoing the label’s logo to look like a bottle of salad dressing and I was telling them that the compilation will have to look like a restaurant menu, with different types of dressings and stuff like that. Particularly in the case of punk bands, where most of the times they have something they really want to get across, you can take that conceptual side and explore it to the limit.

One example that I’m really happy with is the work I did for [Portuguese punk band] Artigo 21. Their album was going to be called Ilusão [Illusion] so I thought we should find a way to reveal every image as an illusion. The cover shows someone sitting at home, in a nice house, watching this smiling politician with a background of green trees on their smartphone. Then you open the cover and everything turns out to be complete shit. The dude is handcuffed to his phone, the trees behind the politician were a set, there’s a guy starving beside him, factories everywhere... Having the little cutout really increased the cover’s production costs, which for a Portuguese band, in the Portuguese market, could well mean that they’d have a hard time making their money back. But I’m glad they thought it was worth it anyhow.

That’s cool. It already says a little bit about your process but I wanted to ask you about a particular project you did. I really liked the board design you made for Trucks and Fins, the one with the UFOs, I think you nailed the site’s spirit. I wanted to ask you: how did you come to that one?

I’m also very happy with how that one turned out. The process, I mean, Haroun [T&F co-founder] just told me “you know what the site is about and you know our work so just do whatever you think is better” and, well, it was like you said, I just had to think about what the website was. I knew it had to be something pretty futuristic and then I thought it would be cool to refer to the website’s international scope, so I had the idea of including all these famous monuments. So yeah, I thought of these UFOs coming to steal all the skateparks and taking them to another dimension, which would be the dimension where Trucks and Fins is. When we do a new version we can continue the story and have the aliens skating the parks they stole on Mars or somewhere like that. Also, the central ship, which is taking a skatepark with a skater in it, is taking the Venice Beach skatepark, which for us is just as iconic as all the monuments that are lying about broken at the bottom.

It’s a great idea and a great graphic, I hope they’ll go into production some time soon. Before we go, are you working on anything cool right now, is there anything you’d like to announce?

There’s one thing that I’m really hyped on. Rastilho Records is doing a re-issue of Censurados Ao Vivo [classic Portuguese punk band live reunion album] and I’ll be doing the design for that. Also, I’m starting a collection for this American punk band that I’ve been a fan of for years. They’re called A Wilhelm Scream and they’ re huge in the States, and not just there of course. Their first t-shirts or posters were done by Jimbo Phillips and I was looking at them and thinking that I’d love to do something for those guys one day. Then about two months ago I got an email from their manager and I was ecstatic. I’m doing two designs for them.

That’s what I call a happy-ending. Thanks a lot, Samuel.

Check Trucks and Fins’ instagram for the chance of winning a Samuel Lucas custom-designed deck.

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By Sebastião Belfort Cerqueira

Built Like a Skater: How I Sacrificed Everything to Keep This Project Alive

🛹 Built Like a Skater The Story of Trucks and Fins — Falling, Getting Up, and Pushing Forward In skateboarding, the first thing you learn isn’t how to do a kickflip. It’s how to fall. You learn how to slam, how to hit the ground, how to get hurt — and most importantly, how to get back up. That’s the mindset I’ve carried with me for the last five years building Trucks and Fins — a project born from passion and driven by an unstoppable belief in skateboarding and the people behind it. 💡 A Simple Idea That Grew Five years ago, I set out with a simple mission: To build a free map of every skatepark in Portugal — and eventually the world. A tool made for skaters, by skaters. No subscriptions. No paywalls. Just value for the community. That small idea grew into something much bigger: 900+ skateparks visited (myself) and 17,6% of the skateparks visited worldwide with our skatepark hunters; 120+ filmed and documented;  2,5 million+ yearly views across our site and social media; Weekly videos, photos, articles, and community content. But it didn’t stop at parks. From the start, I made sure that: Skatepark builders, shops, schools and skate friendly hotels could sign up for free. All to support the community — expecting nothing in return.Because I believed that skateboarding would grow stronger if we helped each other. 🏆 PUSHLeiria: A Dream That Almost Didn’t Happen In February, together with João Sales, we organized PushLeiria — the first national awards for skateboarding video parts and photography in Portugal. It was meant to celebrate our scene — to give credit to the artists, the skaters, the filmers, and the photographers who’ve been pushing creativity behind the lens. But we almost canceled it. We couldn’t find sponsors. No one wanted to back it. We were days away from pulling the plug. Still, we went ahead. We believed it had to exist. And we made it happen — even if it meant losing thousands of euros personally. Why? Because some things are more important than money. Because this community deserved to be celebrated. 😞 Helping Others, Forgetting Myself For five years, I’ve been shining a light on others — giving away time, energy, and visibility. I poured all my savings into this project, and every minute of my free time: Filming, editing, driving, emailing, coding, building content, fixing the site, sharing every story. There were months I couldn’t afford more than gas and groceries. There were nights I couldn’t sleep, worried I’d have to shut the project down. Because I still haven’t found a way to make it financially sustainable. That’s been my reality. And yet — I’m still here. 🚧 The Slam That Hit Hard One of the toughest moments? I filmed 17 skateparks for a brand. No contract. Just trust. And then, when I asked if I could pass the invoice? They said we never made an agreement. It hurt — not just because I needed the money — but because I believed we were building something for skateboarding, together. But again… I got back up. 📉 Rejections and Silence I’ve reached out to companies, brands, and investors with hope and passion. Some said: “Your website isn’t polished enough.” “You don’t have enough daily views.” Most didn’t even reply. Still, I keep building. Because this has never been just a website. It’s a mission. A calling. A way of life. ❤️ I Owe Everything to This Community It hasn’t all been bad. Far from it. There are people who showed up when I needed it most. People who offered support, shelter, trust, and encouragement. People who reminded me why this matters. I owe this project to every single one of you who believed in me. And a special thank you to all the skatepark hunters out there — Those who, just like me, have traveled across countries, visited hundreds of parks, taken photos, shared spots, and documented skateboarding expecting nothing in return. You are the soul of this project. You kept me rolling when I was ready to stop. This platform exists because of your energy, your time, and your belief in what skateboarding stands for. 🛠 Still Rolling Despite all the setbacks, Trucks and Fins is still standing — and still growing: A directory connecting skaters, shops, parks, and brands. A platform showcasing skateboarding from the ground up. A living archive of culture, places, and people. And it’s all been done with: ❌ No external funding ❌ No agency ❌ No big corporate team Just a few skaters, a camera, a car, and a dream. 🚀 Let’s Build the Future — Smarter This journey has taught me a lot. About skateboarding. About people. About giving too much. And now, it’s teaching me something new: 💬 Ask for help ✋ Say no when needed 🛠 Build with support — not just sacrifice If you believe in this mission — if you love skateboarding and want to help us map it, share it, and grow it: 👉 Let’s talk. 👉 Let’s collaborate. 👉 Let’s create something meaningful — together. And if not, that’s okay too. You’ll still find me at the next skatepark. Camera in hand. Board under foot. Heart still in it. Because we’re skaters. And skaters don’t quit.

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Can You Make a Living from Skateboarding in Portugal?

Can You Really Make a Living from Skateboarding in Portugal? Skateboarding in Portugal is having a moment. The spots are world-class, the local scenes are vibrant, and the talent runs deep — from Lisbon’s crusty plazas to DIY gems in the north. Events, skateparks, and video parts keep popping up, and Portuguese skaters are finally getting more international recognition. But beneath the surface of this growing culture lies a harsh reality: Can anyone actually make a living from skateboarding in Portugal? The Reality for Most Skaters For many skaters in Portugal, the dream is alive — but the paycheck isn’t. The majority of sponsored skaters receive product support only: boards, shoes, maybe clothing. While that helps offset some of the cost, it doesn’t pay for rent, food, travel, or filming trips. Cash support? Rare. Health insurance? Forget it. Paid video parts or contests? Very few. In fact, many of the skaters pushing the scene forward also work full-time jobs, film their own parts, and organize local events — all out of passion.The Culture of “Helping Out” A big part of the problem lies in how skateboarding is still perceived by many companies and city councils in Portugal. Brands are often open to helping out, but only in the form of gear or symbolic support. “Here’s a box of T-shirts.” “Put our logo in the corner.” “Sorry, we don’t have a budget for that.” There’s no question that Portugal has amazing skaters and content creators. But the infrastructure to support them professionally — through financial sponsorship, marketing partnerships, or skate industry jobs — is still very limited. Do Brands Have the Budget? The short answer? Yes. Many brands do have the money. The issue isn’t budget — it’s mindset. Most companies still don’t see skateboarding as a serious channel for brand building or youth engagement. Skateboarding is seen as underground, unpredictable, and difficult to control — which, ironically, is exactly why it’s so powerful when used well. Unlike traditional advertising, skateboarding reaches communities through authenticity. Skaters don’t care about polished commercials. They care about who’s really supporting their scene. When brands finally realize this — and start collaborating with skaters not just as influencers, but as creative partners — the game will change. What Needs to Happen? If skateboarding in Portugal is going to evolve from a subculture to a sustainable industry, here’s what needs to happen: Brands must invest real money — not just gear. Skaters must be seen as professionals — creators, athletes, storytellers. Projects like Trucks and Fins must build bridges between the skate world and business world. City halls must maintain parks and support scenes, not just build and forget. Skate shops and local brands need support, so they can, in turn, support the community. A Glimpse of Hope There are signs of progress. Parks like Santo André are maintained with love and care. Skateboarding is officially part of the Olympics. Portuguese skaters are being featured on global platforms. And projects like Trucks and Fins are pushing for real visibility and value — creating media, touring skateparks, and collaborating with institutions. There’s still a long way to go, but the wheels are turning. Conclusion So, can you make a living from skateboarding in Portugal? Not easily — but it’s possible. And more importantly: it’s worth fighting for. Because skateboarding isn’t just a sport. It’s a culture, an art form, and for many of us, a way of life. And that’s something worth investing in. But this leads us to a bigger question: Who’s actually helping who more — the skaters or the brands? Right now, it’s the skaters who are giving more than they’re receiving. They’re creating content, building community, and representing brands with passion — often unpaid, often unseen. And yet, brands still hesitate to invest. That needs to change. Skaters aren’t just athletes — they’re culture shapers, storytellers, and grassroots marketers. When brands start recognizing this and giving real support — not just gear — the entire skate ecosystem in Portugal (and beyond) will level up. Until then, the skaters will keep doing what they’ve always done: pushing forward, building scenes, and proving that skateboarding is more than sport — it’s movement.

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Wooden Skateparks vs Concrete Skateparks: Which are better?

Wooden Skateparks vs Concrete Skateparks: Which One is Better? Choosing between a wooden or concrete skatepark is one of the most important decisions when planning a new facility. Both materials offer unique advantages and challenges depending on the environment, budget, and intended use. Here's a detailed comparison to help guide the best choice for your project or community. Riding Experience Wooden skateparks are known for their smooth and responsive surfaces. They offer a slightly softer feel, making them great for beginner skaters. Many skaters find wood more forgiving underfoot, especially when learning new tricks. The quieter ride is also a plus in indoor or noise-sensitive areas. Concrete skateparks, on the other hand, provide a fast, stable surface ideal for flowing lines and transition skating. The consistent feel of concrete makes it a favorite among experienced skaters, especially those who enjoy bowls, banks, and street-style setups. Concrete is the go-to for permanent, sculpted terrain that encourages creative skating. Maintenance and Durability Wooden parks require frequent maintenance, particularly if they’re outdoors. Exposure to rain, sun, and temperature changes can cause wood to warp, crack, or rot, reducing the park’s lifespan. Regular resurfacing and inspection are necessary to ensure safety and performance. Indoors, however, wooden parks tend to last longer and maintain their quality better. Concrete parks are extremely durable and can last for decades with minimal maintenance. Their weather-resistant nature makes them perfect for outdoor installations, and aside from occasional cleaning or minor repairs, they demand little upkeep over time. This makes concrete a solid long-term investment for public or high-traffic spaces. Cost When it comes to cost, wooden skateparks are generally less expensive to build. The installation process is quicker and simpler, which is helpful for temporary setups or when working with tight budgets. Wooden structures also allow for flexibility, as they can be moved, reconfigured, or replaced more easily. Concrete parks have a higher upfront cost due to the complexity of design, engineering, and materials. However, their long lifespan and minimal maintenance often result in a lower total cost of ownership over time, especially for municipalities or organizations planning a long-term facility. Aesthetics and Community Impact Wooden parks are often modular and functional, but they tend to stand out visually and may not integrate seamlessly into surrounding environments. They’re best suited for temporary locations, events, or indoor use where aesthetics are not the main focus. Concrete skateparks can be beautifully sculpted and integrated into natural landscapes or urban design. Many serve as architectural features or public art pieces that enhance the visual appeal of neighborhoods. These parks often become social and recreational hubs, increasing their value to the community beyond just skateboarding. Safety From a safety perspective, wooden parks offer softer landings, which can be beneficial for beginners and those practicing new tricks. However, if the wood becomes damaged—due to splinters, soft spots, or exposed screws—it can pose risks if not properly maintained. Concrete parks offer a consistent and reliable riding surface, but falls on concrete are harder and more painful. While the risk of injury may be slightly higher, many skaters prefer the consistency of concrete because it reduces unexpected hazards like loose parts or warped transitions. Conclusion Both wooden and concrete skateparks offer important benefits depending on the purpose and location. Wooden parks are perfect for indoor setups, events, and budget-conscious projects that require flexibility and mobility. Concrete parks are ideal for permanent public installations where durability, minimal maintenance, and creative design are priorities. At Trucks and Fins, we document and review every type of skatepark around the world. Whether it’s wood or concrete, indoor or outdoor, every park has its place in the skateboarding ecosystem. If you're planning a skatepark or just exploring new spots, visit TrucksandFins.com to find detailed information, photos, and reviews of thousands of parks worldwide.

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Europe vs USA: Who Has More Skateparks?

A Tale of Two Continents on Four Wheels When people think about the heart of skateboarding, the United States usually takes the spotlight. From the iconic spots of California to the roots of modern street skating, the U.S. has played a huge role in shaping skate culture as we know it. But when it comes to numbers—how many places you can actually go skate—Europe quietly takes the lead. Let’s break it down. Size Matters (But Barely) At first glance, you might think the United States of America, has the upper hand just based on space. After all, it’s massive, right? Well, turns out Europe and the U.S. are nearly the same size. United States: 9.83 million square kilometers Europe: 10.18 million square kilometers That means Europe is just about 104,480 square kilometers larger—so, not a major difference in land area. Skatepark Numbers: Europe Pulls Ahead Now, here's where it gets interesting. Skateparks + Asphalt Pump Tracks in the USA: 3,740 Skateparks + Asphalt Pump Tracks in Europe: 9,831Yes, you read that right. Europe has over 2.5 times more skateparks and pump tracks than the United States. This includes everything from world-class concrete parks in places like Malmö (Sweden) or Barcelona (Spain) to modern asphalt pump tracks popping up across Germany, France, and Eastern Europe.People Per Park: The Real Density Battle Let’s bring population into the mix. How many people does each park serve on average? United States Population: ~332 million Europe Population: ~746 million Now let’s calculate: USA: 1 skatepark for every ~88,770 people Europe: 1 skatepark for every ~75,880 people Even though Europe has a significantly higher population, the number of parks keeps pace—and even beats the U.S. when it comes to accessibility. What Does This Mean? It flips the script a bit. While the U.S. may dominate skateboarding in terms of global influence, media, and history, Europe is quietly building a stronger physical infrastructure for the next generation of skaters. The sheer number of accessible spots, especially in smaller towns, makes Europe an underrated gem for skateboarding and pump track culture. In recent years, funding for public sports infrastructure in Europe has prioritized multi-use spaces like skateparks and pump tracks, especially in places like France, Germany, and the Netherlands. Local municipalities see the value not just in terms of sport, but community engagement and youth culture. The Bottom Line While the U.S. gave skateboarding to the world, Europe is giving it room to grow. If you’re a skater looking to travel, explore, or even relocate, Europe might be your new paradise. Whether you’re bombing hills in Lisbon, cruising pump tracks in the Alps, or skating DIY spots in Eastern Europe, the scene is alive and thriving.

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