Timeouts are lightning-quick interviews. Five questions to help you get to know the players holding court at Dribbble. Many thanks to Trent for being this week’s interviewee.

Who are you? Let us know where you hail from and what you do.

My name is Trent Walton, and I’m founder & 1/3 of Paravel. We’re based out of Austin, TX, though I live west of Austin in the Texas Hill Country in Horseshoe Bay. 

What are you working on?

We just launched a new site for The Do Lectures, working alongside Frank Chimero, Jon Heslop, and the rest of The Do Lectures Team. Being a part of this redesign was a privilege. They’ve got some great content, trusted our vision, and let us run wild with media queries.

We’ve also got a few in-house projects cooking. Goodfoot, a Gowalla-powered companion iPhone app, is open for beta testers, and the next The Many Faces Of subject has been nailed down.

Choose a favorite shot of yours. Why is it a favorite?

I think it’d have to be Ford—the first in my car logo/badge series. When projects we work on tend to span months, it’s nice to sit down and hammer something out as a quick exercise. I take advantage of Dribbble in that way. It can be a nice outlet in and of itself.

Tell us about your setup. What tools did you use to create the shot(s)?

I just upgraded! I moved from a 15” MacBook Pro to a 27” iMac and a 13” MacBook Air, both with solid state drives. No more waiting on anything when I save for web, or anything else for that matter. I use Dropbox to share files between the two machines, and with the rest of the Paravel team. Oh, and the biggest upgrade of all would be represented by the baby monitor next to the mouse. I’ve got a 10 week old son, and am loving life.

My workflow for the Ford shot is pretty typical. I sourced a photo from a 1954 Mainline, created the lettering in Illustrator, and brought it into Photoshop for texture. Next to Coda and CSS Edit, Photoshop is where I spend most of my time.

Choose a favorite shot from another Player. Why do you dig it?

Sorry, I’ve got 3. I can’t help myself.  Firstly, I’ll have to go back to January 2010 and cite something that I’d never even know how to begin to create. John Neiner’s Dreams In The Night writes its own story, and does way more with it’s pixel-space than any other shot I’ve seen.

Another would have to be ‘Lane Final’, yet another of Anthony Lane’s sturdy shots.

“Drawn with Sharpie, scanned, printed, re-drawn with Sharpie, scanned into and finally fleshed out in AI with live-trace and additional tweaking.”

What more could you possibly want? :)

And I’ll take Reagan Ray’s TMFO Logo as my sentimental third.

We were just getting our feet wet on The Many Faces Of there. What an exciting time.

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