Ultra pointe: TX-1A
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What my top notch invention is, is a new and highly advanced: “ballet”: “pointe shoes”, worn by almost every dancer studying the fine and highly excelled “art” of “ballet”, whereby my invention to enhance upon ballet dancer's training within achieving “pointe” will far engage a possibly more: “re-fined” dance and very, very possible end the severe pain and hurting upon their “feet” or: “tool's”. My invention of: “the ultra pointe”, was not only designed with a more easier facet to achieve from: “demi-pointe” to: “full pointe” more gracefully, but indeed the main factor of my new “pointe shoe” design is the severe pain dancer's go through along with: “deformation's” of their feet with every “point shoes” manufactured today for “ballet” inwhich my “pointe shoe”, design will very, very possible stop or greatly lesson the pain and severe displacement's of all of the: “ballet-pointe shoes” worn today by almost every dancer studying the fine love of “ballet”.

Palattella, Joseph (L.I.C., NY, US)
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What I claim as my invention are typed onto the: [4] proceeding pages for a total of: (12) claims, to fully explain with clarity my invention and neccessary documentations:

1. An advanced: “ballet pointe shoe”, like no other in the world utilizing superior and high tech advanced materials and ability never used ever before in all existing pointe shoes, being manufactured today, with but one main purpose of: “the ultra point”, is to very possibly because of new materials and my indepth knowledge of them forming a substantial design and to very possibly stop the formations of sheer pain and hurting to a “ballerina's feet and toes”, via “bunnion's”, “friction blisters burns and boils” and the: “skeletal deformation's” of her feet.

2. The material of: “Kevlar”, interweaved at the tip of: “the ultra pointe” where the tip front of the “pointe shoe” makes contact to the floor will continue to hold the traditional “pink satin” fabric but, my pointe shoe design will have the tip “interweaved” with: “Kevlar” thread: (6) times stronger than “steel” on an equal structured basis. This will allow not only a longer usage duration and durability of: “the ultra pointe”, but to also allow better control, and: “balance”, when going onto: “pointe” . . . no pointe shoe in the world has this “Kevlar” interweave at the tip of pointe shoes:

3. At the bottom “toe box” section I have incorporated a lining of: “sorbothane”, mega shock absorbing rubber density material, to highly absorb the tremendeous impact of: “T-force”, (also known as: “G-force”) from a ballerina thrown: 6-7 feet into the air and coming down on: “pointe”, onto the very tip of her: “pointe shoes and toes”, 1st. onto (1) foot, again so other pointe shoes manufactured today has incorporated this vital feature . . . why? . . . I do not know why . . . well I invented it!

4. The next layer designed into the: “toe box”, is: “viscos elastic polymer reflex “foam” compound”, to cushion the dancers foot and toes upon impact from coming down from mid-air onto “pointe” then onto flat “demi-pointe” onto the floor, also envolving many demanding positions and movements within the fine “art”, as a dancers feet are her “tools” and career, there indeed are other ballet companies which offer dancers: “pointe shoe: implants”, of viscos rubber and polymer gels, to be: “inserted”, within the frontal “toe box” which are very good ideas but not perfect modules as many slide, slip and do not conform to the dancers frontal foot and toes especially in the factors of: “pointe-work” onto many, many hours, my design of: “the ultra pointe”, via “viscos elastic reflex polymer “foam” compound, will envelope around the dancers frontal foot and toes and cushion them inwhich this compound will be constructed and permantely inlayed within: “the ultra pointe”, within the manufacturing of my advanced “pointe shoe” design.

5. “The ultra point: TX-1A”, will not have a hard rigid: “toe box”, found in every “pointe shoe”, manufactured throughout the “art”, but a much softer one to beautifly “mold” to the dancers feet and toes along with a “V” groove elastic located within the center of the “pointe shoes”, to: “flex and constanely adjust to the dancers feet inwhich the: “V”-groove, will allow: “the ultra pointe”, to fit and react like a supple “glove” to the dancers feet.

6. The inner lining of every: “pointe shoe”, made today is of: cotton and synthetic fabrics bonded with glue to the insides of the “toe box and “stiff and hard” like a Mutha! “the ultra point: TX-1A”, will have the “entire” toe box: lined with a beautiful layer of the most softest: “chamios” leather, inwhich “chamios”, absorbs moisture but feels luxurious against the skin inwhich this may very possibly eliminate all: “friction blisters and burns” from the dancers toes and frontal foot, whereby “chamios” leather is very strong and durable with the beauty about “chamios” is that from the sweat of a dancers feet this very special leather dries “soft and supple”, every time, just naturally allowing the “chamios” and “pointe shoes”, to: “air dry” and a: wonderful “T” note every time.

7. Unlike all “pointe shoes”, made today the lower frontal: “shank” or “sole” is extremely hard and rigid whereby it does not bend to the natural curviture of: “the arch” or “sole” to a dancers foot as the “shank” remains straight like a ruler on “the ultra pointe”, the “shank” or “soles”, both inside and outside will be constructed from softer machined cowhide leather to allow a ballerina's foot to fully “bend” in a more natural position especially when on “pointe” and very possibly a more superior, superb, comfortable and advanced “pointe-work” and from: “demi-pointe” to a full “pointe” very beautifly set and accomplished.

8. To enable a: “full arch” of the curve of a ballerina's foot, “the ultra pointe's” center sole section will have a “V” split incorporated onto both the inner sole and outer sole. Ascertaining both the center-split and the softness of the frontal foot area will very possible enable the foot of a ballet dancer to curve and flex to a: “full-arch”, and very possibly a better: “pointe”, but also to much more special “pointe” with accesselerations to many more advanced manuevers of the feet not possible ever before with the existing pointe shoes being sold on the market today.

9. At both sides and at the heel sections of: “the ultra pointe”, will be incorporated with “V” cuts of the finest: “elastic-lycra”, to further enable for my “pointe shoe”, to fit like a “glove” at flat: “demi-pointe” and most importantely at: “full pointe”, as almost every pointe shoe manufactured today, the pink satin fabric: “buckles-up” at the heel when a dancer goes on: “full pointe”, but I have invented a possible system with an array of strong elastic sections at both sides of my “pointe shoes”, and also: directely within the “center” of the heel to stretch and shape to a ballerina's foot no matter what position of: “pointe” she goes into.

10. A further addition of: “the ultra pointe”, will not only contain the finest elastic fabric known as the: “V”-cut section at the front “toe box”, both sides and at the heels, but also a strong array of “Kevlar-elastic”, at the top trim beginning at the front point of the “V”-cut toe-box section and following to the heel back inwhich this final addition will very possibly be the “key” to a “glove-fit”, to every ballet manuever a ballerina, goes through.

11. The “insoles” of: “the ultra pointe”, which will lay against the soles of the feet of a dancer will be one “smooth” formation from her frontal foot within the “toe box”, to the center soles of her feet and continuing to her heels lined with the softness: “chamios” leather as no matter how much a dancers feet sweat, the “chamios” air-dries and remains: beautifly soft and supple.

12. Another very valuable enerjette with my: “ultra pointe”, as no other ballet pointe shoe manufacturer incorporates will be a strong placement of: “triple-stitching” of: “Kevlar thread”, throughout the entire pointe shoe to make “the ultra point”, mega-strong and highly durable in: construction and intense dancing no matter what . . . simply good friend's, I just feel with all my heart, soul and blood, I have a “winner” here! . . . a most special and beautiful touch!

12-A) “The ultra pointe: TX-1A”, is a ballet “pointe shoe”, of the: future. As a beginning: “training shoe”, for a young ballerina, and as she furthers her career within: “the study of the fine: art”, as to “help” her with the sheer negativety of the intense “deformation” of her main tools of dance being her precious: “feet”, to carry her forward to her sheer advancement in becoming a: “career” dancer to the excelled point in becoming a: “principle” and “prima” ballerina. A new advancement from the: “traditional” pointe shoe design that may very, very possibly will not disallocate and “deform” the powerful and refined: “tools” to a ballerina . . . to help her in her career like something never acknowledged ever before in “the art of ballet” and to: “enhance” a dancer's further ability to achieve and go for her dreams as further she wishes to reach upon. “the ultra pointe: TX-1A”, is a: “pointe shoe”, like never seen or acknowledged ever before, especially for a “young dancer”, training in “blood”, to become as much as she wishes to achieve within the beautiful and refined “art” and very possibly to: “enhance” her sheer dedication upon years and years of intense study and training, as within a period of: (2) years, (4+) years a young dancers feet are already deformed upon wearing the only design allocated and: “traditional” pointe shoes made throughout the world to this very day. But a special, a very special “pointe shoe” design to help a dancer to achieve with all of her giving to indeed if she wishes to become: “a principle or prima” ballerina and to dance and upon a royal dream to: “teach” ballet even upon her years touched with “gold” “the ultra pointe”, a pointe shoe, so advanced like nothing possibly ever seen, assembled and acknowledged ever before in the entire “realm of ballet”. As a: “career” dancer achieve the highest designation of a: “prima ballerina” . . . “Nutcracker”, “A Midsummer Night's Dream”, “Swan Lake”, and upon . . . “Lincoln Center”, here in New York City, where upon the final note of the performance, people of all reaches of life give all of the ballerina's and the: “prima ballerina”, a “standing and most beautiful ovation”, and place flowers and “bouquets of roses”, upon the stage to excell the sheer beauty and sheer lovelyness of the truely wonderful magic with sheer admiration of all of the most lovely ballerina's unmatched upon the very elusterious forms of the “art” and a most lovely and cherished touch to be understood with such tranqual joy and bliss. This is not only a “touch” of what this fine “art” is all about, about a sheer “lifetime” of dedication, of training, of sweat and of deep blood, and I am just trying with all my heart and soul to try to help these special ladies, trying to give a notch, a touch . . . a most special touch . . . a special touch to endure . . . not just for only: (1) dancer, but for dancer's throughout the world and maybe, just maybe I can “touch” and “help” with a dedication, a dedication and an admiration of what this and my life is all about . . . of sharing . . . of “love”.

As to what I am inventing, is a: far superior “ballet: pointe shoes”: a highly “precise” modulation far better than ever seen and acknowledged ever before within the most special world's of “ballet” and “excelled” dance. Inwhich a dual allocation upon my invention is that my: pointe-shoe design of: “the ultra pointe” is not only for dancer's wishing to possibly achieve the designation of a: “principle or prima” ballerina's but also as a: “training pointe shoe”, for very young ballerina's, going onto: “pointe” for the very 1st. time within their live's.

What I have also invented with: “the ultra point”, are systems to not only dance enhanced but also to enable a dancer to go through a great deal of lesser “pain and hurting”, upon her “feet” and her “tools” of her highly demanding “career”.

Within my invention, I have also “re-designed”, and created a “new”: ballet: “pointe shoe” of: “the future” for: “the future”, which the very time of allocation is right now . . . but still holding onto the fine “traditional” design, but at the same nitro time: “re-designing” it for another wonderful “realm” of: “advancement, refinement, technology and much indepth “comfort” with no: “defomation's”, of the dancer's feet as they are her: “tools”, along with her prescious “pointe shoes”.

FIG. (1):

At the very tip of a ballet dancer's: “pointe shoes”, in ballet which make contact to the floor will be highly durable with my design, as opposed to the “traditional” construction of all: “pointe shoes”, manufactured today throughout the fine art of: “ballet” are made of simply of stiff cotton and covered with: satin “fabric”. The very tip of the: “pointe shoes” of my design will be composed of an: “intermix fabric”, of not only the finest cotton and satin fabric, but also of a combination including: “Kevlar”: the strongest fiber in the world: (6) times more stronger than: “steel”, on an equal basis, (and used primarely in the construction of: “bullet proof vests”, for the “police and Goverment Militery” throughout the world).

The purpose of this refinement is that of all dancer's whom study the fine and very demanding art of: “ballet”, and whom wish to become top ballerina's, as a: “principle or prima”, achieve “pointe” necessary to the “art”, and within a very short period of time just as the “pointe shoes”, mold to their feet or their: “tools”, the very tips of the “pointe shoes”, which make first contact to the floor out of the material used today break down so easily and tears so much, the severe tearing of the frontal satin and just cotton material not only makes from: “demi-pointe to full-point”, more difficult but the torn tips throw the dancer's feet off balance and once this happens in such a short period of time and just when the “traditional” pointe shoes mold to her feet and toes many, many “ballet dancer's” must buy another pair of: “pointe shoes” just to continue the study and “train”, for this very demanding “career” which is also a lifelong endeaver.

FIG. (2-A):

The 2nd. layer of composition is a compound layer of a high: “G-shock” material like rubber called: “soberthain”, which is one of the most highest “shock: absorbing material known to man.” As this material never used ever before within the realms of “ballet” will absorb the tremendeous “G-shock” of dancer's coming down from mid-air onto the pointe of their “pointe shoes”. Inwhich this is only (1) factor that will very possibly stop the severe deformation of their main “tools”, their feet and toes.

FIG. (3-A):

The 3rd. layer of advanced modulation is an inlay of a wonderful material of: “reflex viscos-elastic polymer” high density foam. Inwhich this material shall be “heat bonded”, directely onto the sub-layer of: “soberthain”, whereby this polymer will not only cushion and form to the dancer's toes, but it will also additionly act to also absorb the additional: “G-shock”, of her feet and toes from coming down in: “mid-air: 6-8 feet” and onto the front tip of theie “pointe shoes”, inwhich this one factor and one of the most important as this polymer is so special whereby molding to her feet and toes can very possibly prevent the high and very painful: “deformation” of her feet and toes. This polymer, has the incredible ability to give and “reflex” with the dancer's frontal portion of her “pointe shoes” and this “viscos-polymer” may indeed “work” with her feet upon the great many, many demanding practice and her vitally intense involvement within her life as a “prima ballerina”.

FIG. (4-A):

“The layer” of: “reflex viscos-elastic polymer” high density foam, must also contain a top layer “protective covering”, so that the dancer's toes and toe nails along with the friction from the front of her fool does not “ruff-away”, the top layering of the: viscos-polymer. To go around this important point a top surface to be allocated will be an intermix material of: “cotton, lycra, and: elastic Kevlar”, which will remain durable and to: “flex and move”, to each movement the dancer will wish to achieve.

FIG. (5-A):

Onto this section of: “the ultra pointe”, to cushion the upper toes and the frontal area of the dancer's feet within the: “toe box” and to very possibly prevent the: “heat friction factor”, which causes burns and “heat blisters”, as all existing ballet pointe shoes do today the toe box of: “the ultra pointe” will possess a graduating layer of: “soberthaine”, to further absorb the: “G-shock” and for the high “friction” the “soberthaine” in addition will be covered in soft and supple pure: “chamios” leather, inwhich this type of leather no matter how much a dancer's feet sweat, the “chamios” leather always dries supple and kitten soft.

FIG. (6-A):

The insole “arch-plate”, which allows a fine motion from: “demi-pointe to a: full pointe”, also matches and coincides to: “the arch outsoles” which are composed of a re-mix manufacturing of: “Kevlar” and top quality “cowhide leather”: not too stiff and not too soft but just right enabling dancer's to achieve: “pointe” with very little ease and to continue onto “pointe” very comfortably as song as the dancer wishes . . . a more finer pointe upon the excelled freedom of the: “V” shaped center section . . . which has never been designed ever before and more gracefull and feminie is the “pointe” of a lovely and truely beauful traviascent the dancer may very well so wonderfully enhance upon with the most lovely touch of a most beautiful “ballerina” . . . of such tranqualled “aura's of love”.

The entire insole will also be wonderfully covered in kitten soft “chamios leather” (indeed both sides of: “chamios” kitten soft). I have chosen this ultra beautiful natural material, as opposed to the standard insole linings used today as many possess very, very thin cotton insoles, laquered paper and “man made” materials, to absorb the sweat from a dancer's feet, but with my adaptation of this incredible: “chamios leather”, it absorbs the dancer's sweat and when the dancer takes off her: “ultra point's”, the “chamios leather”, will dry naturally so soft and it retain it's sheer plyability, and the beautiful way that the “chamios” will feel to her feet.

FIG. (7-A):

Within the remaining 2nd. half of: “the ultra pointe”, from the ending area's of the: “chamios” leather lining of: “the toe box” will in addition be lined with a nice layering of: “100% cotton”, as with the: “chamois”: are 100% natural.

FIGS. (8-A/9-A/10-A):

These area's of incredible movability and snug fitting (to not slip off the feet of the ballet dancer's), consist of the finest and most durable beutifly stretching “elastic fabric” which are: “triple stitched” into place (unlike just the: single or only double stitching found today, as no other ballet manufacturer uses: “triple stitching). These (4) area's of: “the ultra pointe”, will be affixed in the manufacturing of: “the ultra pointe”, first within the front consisting of a deep: “V” cut to secure the upper front foot into the frontal area of the front “toe box”, while the additional elastic at the: “top trim” (FIG. 10-A), and at also both sides and the back heel, may very possibly secure to a dancer's feet like a beautiful “glove”, with: “the ultra pointe” upon these addition's will also possibly allow the dancer's feet (or tool's), unlimited dance manuevers and to constantely fit full and secure with much greater ease than just: pointe shoe “ribbon's” at their ankles, but also with: “the ultra pointe”, consisting of possibly greater: “symmetry, balance, control and comfort”.

FIG. (11-A):

This feature within my: “ultra pointe”, as also described in: FIG. (6-A), engages a superb modification of all pointe shoes found today as the: “V” center hinge design matching both the insole and outer soles will enable a ballet dancer to go from a flat: “demi-pointe” to a: “full-point”, in a more easier motion of her feet which will also enable a dancer's foot to bend via an “arch”, more naturally with much greater freedom which will also creating a more simplier “pointe” with much more possible freedom and harmony.

*Invisable View of an Actual: “Ballet Pointe shoe”, Used By All Dancer's Throughout the Entire: “Art of Ballet” Known Today.*

FIG. (1-B):

All “pointe shoes” manufactured today contain no cushioning whatsoever for the toes area at the front of: “the toe box” and offering absolutely no: “G-shock” high impact protection upon all of the manufacturing done today concerning: “pointe shoes” to all very special women both young and older studying the fine “realm and beauty of dance” . . . why? . . . I cannot understand it myself!

FIG. (2-B):

Upon all “pointe shoes” being manufacturing the inner composition of the: “toe box”, is extremely hard and very “rigid” made with thick cotton or poly. Fabric impredgatted with a solid bonding mixture which makes the “toe box”, Mutha “rock-hard”! And just (1) factor of the beginning of: “burn blisters, bunions and the deformation”, of the dancer's feet.

FIG. (3-B):

The “top trim” of today's “ballet pointe shoes”, depending on the manufacturer, are made with: (⅛th.″) fabric lacing or: (⅛th.″) elastic lacing: both are very good but the choosing or sometimes no choosing whatsoever, depends solely on the preference of the dancer, choosing the best pointe shoe inwhich she can dance in without allocating a sooner imput of surgury onto her feet, is a very serious factor dwelling today.

FIG. (4-B):

Many manufacturers of: “pointe shoes” today use either: (1) or (2): levels of “stitching” to secure the assembly of their: “pointe shoes” and at many, many times not too good quality thread is used inwhich the thread “snaps” or just gives away at the upper seam contacts and also the thread securing the outside and insoles give away. And this is just another top notch reason why my: “ultra pointe”, will all have: “triple stitching” throughout the entire: “pointe shoes” with utilizing the stronest thread in the world: “Kevlar”, which is: (6) times more stronger than: “steel”: on an equal basis.

FIG. (5-B)

Continued on: Page [3]:

FIG. (5-B):

It is about a 50/50 hit onto the lining placed within the: “inner soles”, of all the: “pointe shoes”, being all manufactured today (whereby many Mutha “pointe shoes” made today are friggen pieces of garbage not worth shit!), inwhich the inner soles are lined either in a: “wax or laquered” stiff paper, a very thin cotton of synthetic “fabric” or a man-made material lining. With my “pointe-shoe” design, it will be inner-soled lined in kitten soft 100% pure “chamios” leather, inwhich not only is “chamios” so soft it is one of the strongest leathers of natural form on this great planet, inwhich no matter how much this leather is danced in or how much a dancer's feet may sweat, as she removes her pointe shoes to air-dry the “chamios” leather lining will remain soft and supple.

FIG. (6-B):

Almost all: “pointe shoes”, being made today possess an error in designing of the back: “heels”, as when a dancer goes onto: “pointe” the back fabric at the: “heel”, buckles-up and does not fit snug and secure to the dancer's heels, and with no elastic support whatsoever with the exception of the thin elastic at the “top trim” even if the dancer secures the pointe shoe: “1″ fabric ribbon” around her ankles.

FIG. (7-B):

Are a pointe shoes: “ankle-supporting” satin (poly) ribbons to the only existing method of keeping the pointe shoes onto her feet.

*Ultra-View Top Scan:*

FIG. (1-C):

“Ultra pointe” tip which makes contact with the floor when a: “ballet dancer” goes from: “demi pointe” to: “full pointe”, inwhich to extend the life of these “pointe shoes” from a dancer wearing down and ripping apart the dancing tips from a serious and smooth “pointe”, I have created a more “long lasting and durable” floor contact addition to my design inwhich the contact point of the tips of my “pointe shoe” design I shall have them manufactured with not only the standard cotton overlay and satin in silk, but also an: “inter-mix” composition fabric interweave with: “Kevlar”, one of the strongest threads known, inwhich this thread is: (6) times stronger than: “steel” on an equal basis.

FIG. (2-C):

The front: “toe box”, will contain a durable but concice layer of: “soberthaine”, a high impact: “G-shock” absorbing compound polymer, to absorb the high velocity manuevers envolved within a career of a “ballet dancer”, especially to cushion the incredibly high force factor from being thrown: 6-8 feet into the air and coming down to the floor onto “pointe” with just one foot.

FIG. (3-C):

The next following layer is composed of: “reflex viscos-elastic-polymer high density foam”, inwhich when a “ballet dancer” goes onto: “pointe”, this incredible material will further absorb the high: “G-shock” manuever's and also form to her toes and cushion her frontal foot which very possibly will not deform the skeletal structure of her feet! and following into: “surgury”.

FIG. (4-C):

Directely heat bonded to the top of the: “viscos-elastic polymer”, will be a very durable and highly flexable layer consisting of an: “inter-mixed” material of: elastic cotton, lycra and “Kevlar”, inwhich this new material will not only flex with her toes and feet, but it will also possibly prevent the dancer's toes and toe nails from ripping into the under layer of the: “viscos polymer” compound.

FIG. (5-C):

At this area of: “the ultra pointe”, from the front to the entire “toe box”, it will be lined with a graduative layer of: “soberthaine” heat bonded to the inner: “toe box”, inwhich the layer of: “soberthaine”, is then totally covered in: cream soft and soft supple “chamios” leather to possibly avoid the friction blisters and boils onto the dancer's frontal foot and toes.

FIG. (6-C):

Located directely within the center of: “the ultra pointe”, I have designed this area with a deep “V” cut of the strongest and of the finest “elastic fabric”, inwhich this section will very possibly work excellentely in holding and supporting a dancer's foot into: “the ultra point”, and to fit like a “glove”, with also the: (3) additional “elastic” sections as shown in: FIG. (10-C). This very securing system's to also “stretch and comform” to the dancer's feet may very possibly eliminate the need for the (2) 1″ fabric ribbon's which are tied tightly around the ankles many times to hold stationery the traditional “pointe shoes” onto their feet and many, many times cutting off the blood circulation to their feet within their stationery “pointe shoes”, being manufactured today. But of course the: (4) sections of: “elastic” will be a harsh material but a: “gentle” yet securing “elastic”.

FIG. (7-C):

Is a: “duro-flex”, top quality elastic: “top trim”, to further and very gentely ascertain the exact tension the dancer wishes to: “exacticate” either from a soft array of tension or to further tighten the top pull, which she feel most comfortable with, inwhich the top trim elastic can always be loosened or tightened with a simple: “bow-knot”.

FIG. (8-C):

A new flexing pointe enhancing insole with a matching duplicate corresponding out-sole, designed with a: “V” cut center split to work as a “hinge”, upon a dancer's feet to very possibly enable the dancer to achieve a: “demi-pointe” to a: “full-pointe” much better with lesser full as her entire foot will be able to: “flex” more gracefully with a more beautiful: “arch”. Onto the top of the “V” cut insole or: “shaft”, it is covered superbly with a very soft and supple layering of pure: “chamios” leather with an additional center elastic if found necessary via the test of the: “proto-types”.

FIG. (9-C):

Onto this additional portion of: “the ultra point”, will be lined in kitten soft “chamois” leather or a 100% pure cotton interweave with the finest lycra, to also give the: “inner-lining”, a fine and very comfortable: “stretch-factor”, as the dancer flexes with: “the ultra pointe”, inwhich also this 100% natural lining including all additional seaming points are: “triple-stitched” throughout the entire: “ultra point”.

FIG. (10-C):

Is a back “heel” view of: “the ultra pointe”, consisting of the specially designed “elastic” to incorporate a more finer securing adaptation at the “heels” of my pointe shoe design.

*Bottom View*

FIG. (1-D):

Is the “tip” of my “pointe shoes”, containing a very high mega-durable layer consisting of: “cotton, satin and: Kevlar” with possessing an incredible strong “inter-weave” never existing ever before within the fine “art”, inwhich this fabric concentration with: “Kevlar”, may very possibly allow my “pointe shoe design”, to last many, many times over again, from all of the massive volume of: “ballet pointe shoes”, made today and also to allow a greater endurance upon the great many manuevers of intense ability vitally neccessary in the very high and many difficult moves of intense training envolved within the most beautiful “art” of the most lovely realms and demensions like wonderful “poetry” for the world of: “ballet”. Whereby a more “durable tip”, will also hold a finer “balance” and a continual momentum within intense floor contact onto the: “tips” of my “pointe shoe”, inwhich also a superb and longer lasting “pointe shoes”, of a dancer molded to her feet are also known so well and so presciously in sweat and blood as a “ballet dancer's”: “tool's” within her life and career.

FIG. (2-D):

Are the: “bottom toe-pleats”, of every: “pointe shoe” manufactured today which are the: “standard's” of: production. The only other problem with many, many ballet “pointe shoes”, is that the front:

FIG. (2-D): Continued:

“Toe-pleat's”, do not lay perfectely: “flat” at the bottom front which are not signs of the fine quality of: “ballet”, especially to “established career dancer's” upon to the high levels of a: “principle and prima” ballerina's. As very especially gapping frontal “toe-pleat's”, can throw a dancer: “off balance”, especially going from: “demi-pointe” (feet flat to the floor) to: “full pointe”. My pointe shoe design, will have fewer front “toe-pleat's”, but most importantely the: “toe-pleats”, will lay perfectely: “flat” via: “pressure and heat press”, from the manufacturing machines or done with skill by: “hand”.

FIG. (3-D):

Next is the “V” cut split outer-sole of: “the ultra pointe”, which will take a good deal of working upon the actual: “proto-types”, as they must not only be very: “plyable and to flex”, indeed also to finally “flex” also with the dancer's feet and soles, but they must also be very durable, inwhich to achieve this factor the out-side soles of: “the ultra pointe”, shall be composed of full grain top quality: “cowhide” leather but also with a reconstitution inter-mix with: “Kevlar”. Then the outer-soles also applied with strong heat applied adhesive and indeed: “triple-stitched”, with also the fixtation at the bottoms with very strong micro: “double-cap”: “titanium rivits”: (“titanium”: is the strongest metal in the world).

FIG. (4-D):

Envolving the: “inner-sole” with the: “outer-sole”, the “shank's” are “split” from each other within the central “axies”, to not only allow a dancer to go from: “demi-pointer” to a: “full-pointe”, but to also allow the the: “pointe shoe”, to wonderfully fully flex to the multi-positions of the many, many numerious studies and “career” “training” envolved to become an established; “ballerina”, either if just to study “ballet” as an endeaver or as a: “prima” ballerina.

FIG. (5-D):

These: (3): section's via this: “bottom scan view”, are designed with the finest quality elastic interweave materials: first at: both sides of: “the ultra pointe”, and then to the: “heel backs”, which may very possibly enable a more: superior fit, to enhance my entire: “pointe shoe”, as not only to be more comfortable, but to fit upon a dancer's feet like a soft and supple “glove” and to very possibly in addition to create a most superior and incredibly advanced: “tool” which “ballet dancer's”, can truely utilize, enjoy and very, very greately: “benefit” even from her very first time going onto: “pointe” with the continual: “brilliance” of my ballet pointe shoe, called: “the ultra pointe: TX-1A”: “supra-pointe” . . . to a nitro “T”!


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