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Vintage film cameras meticulously built from coloured paper

Vintage film cameras meticulously built from coloured paper by Lee Ji-Hee



Korean artist Lee Ji-Hee builds paper models of old film cameras, recreating the details of their every mechanism through expertly folded paper.


Although his paper cameras match the original in every aspect of their form, the colours he selects for his designs are much different. Instead of matching the black, brown, and grey colour schemes consistent with the 1952 Leica IIIf Red Dial or 1938 Super Kodak Six-20, Lee chooses flashy colours and patterns that give each device an updated aesthetic.




Kate Sierzputowski for ThisisColossal. July 2017


Javier de Riba’s patterned floors establish vibrant gathering spaces.

Javier de Riba’s patterned floors establish vibrant gathering spaces for public use.



Catalan artist Javier de Riba brings the cosiness of home outdoors with his ongoing Floors Project. Made possible with the help of the local community, the collaborative endeavour involves painting a specially designed motif onto the concrete or pavers that line walkways and city squares.


Each intervention serves several purposes, including adding colour to an otherwise grey setting, connecting locals to the artist and each other through art making, and establishing a welcoming gathering space during an urban environment.


De Riba has completed five of the carpets so far, four in Spain and one in Shenzen, China. He’s traveling to Breda, The Netherlands, this June to collaborate with Blind Walls Gallery on the largest work yet, which will span approximately 400 square feet.




Grace Ebert for February 2023.


Metaphorical portraits deconstruct art history as collaged specimens

Metaphorical portraits by Michael Mapes deconstruct art history as collaged specimens



Photographs, scraps of fabric, human hair, dried flowers, and gelatine capsules are a few of the materials that artist Michael Mapes arranges into fragmented portraits and still life’s.


Referencing traditions and prominent works in art history, Mapes interprets figures and fruits through deconstructed compositions. Set in specimen boxes evocative of those used in entomological studies, the collagesutilize the metaphor of scientific study to dismantle and reconstruct the contexts and meanings of the original works.


Mapes begins each piece with research around the subject matter and materials, and many of the artist’s most recent works centre on muses, like fashion designer Emile Louise Flöge who was the lifelong companion of Gustav Klimt. “I’ve been making studies, smaller scale works that allow me to consider compositional approaches for larger pieces,” he says about the series. “It connects the past to the present in a very personal way.


A muse vibe is inspired by mining art history to find subjects that resonate with me and my work process.”



Grace Ebert for August 2022


Crocheted toasts and turkey dinners prepared with fibres

Crocheted toasts, ramen, and turkey dinners are prepared with fibres by Maria Skog



Maria Skog guarantees her orange slices, turkey, and eggs won’t spoil. She crochets fibre-based creations with preservation in mind, ensuring that every berry and bagel stays as fresh as the day they were made.


Based in Närpes, Finland, Skog began crafting the fare for her two daughters about 12 years ago when she was diagnosed with breast cancer. The practice was meditative and calming. “If I wouldn’t survive, I wanted the girls to have living memories of me, and I thought that they would remember us playing together with the food I crocheted myself,” she says.




Grace Ebert for January 2023.  All images © Maria Skog.


Exquisite architectural photos glimpse life in late ‘90s Cuba

Exquisite architectural photos by Andrew Moore glimpse life in late ‘90s Cuba



Between September 1998 and January 2001, Andrew Moore travelled around Cuba meeting residents and photographing them among their built environments. He snapped more than 700 8 x 10 colour negatives during that period, producing a staggering visual record of a particular moment in the country’s history primarily shown through its architecture.


Through Moore’s lens, Cuba’s palatial residences and generally lavish interiors with marble and gilded detailsare shown tinged with decay: Paint peels from a ceiling to reveal structural wooden slats, broken windows are left in disrepair, and mismatched outdoor seating and modern appliances become out-of-place furnishings in once opulent rooms.


Shot mostly in urban metropolises, the alluring images are evidence of architecture’s power to both respond to and produce a community’s way of life. Havana, Moore shares with Colossal, is built vertically, with tile roofs, high ceilings, and tall windows that encircle central courtyards and offer relief from the fierce heat and sun. “The daylight is generally hard and creates deep shadows, while by night, which falls quickly, the city is quite dark with little by way of street lighting,” he says. Outdoor walls bleach over time from the sun, and verdant foliage and plant life grow in lush tufts from window boxes and landscaped villas.


Many of the buildings Moore photographed were constructed before air-conditioning was ubiquitous and at the time, hadn’t undergone significant updates. During his visit—Cuba and its residents were notably experiencing the effects of U.S. embargos between 1998 and 2001—this resulted in dozens of residents living together in a structure designed for single families. He explains:


These domestic clusters are known as solars. Given these crowded living conditions, and the tropical climate, Havana can seem like a city inside out: in their extraordinary activity, the overflowing streets remind one of a vast living room. Thus, it became of particular importance to me to depict the architectural fabric of this unique city and country within the context of its people.


Residents, while often seen in the distance of the frame, add intimacy and humanity to the series. Along with assistants Ondrej Kubicek, Laurence Dutton, Kevin Fletcher, and Bart Michels, Moore interacted with locals and heard stories about their lives, which were translated by his friend Paquito Vives, while producing the collection. “All of us learned about the city by walking its streets, by knocking on doors, and through talking with the residents about the history of their city,” he shares. “People would frequently complain about the condition of their houses, but they were always friendly and most freely invited us into their homes for a small coffee and long conversations.”


Professionally for Moore, this staggering body of work was his first chance to gather “colour harmony, natural light, deep and shallow space, narrative detail, cultural history, and the human figure” within a single image. It was inspired by Julius Schulman’s photos of Mid-Century Modern architecture and the way people configure within a space, a concern that’s visible throughout his extensive archive of locales in Russia and Ukraine, New York, and Detroit.



ThisisColossal, Grace Ebert. January 2022.

All images © Andrew Moore


Finally, the Olympics has branding

Finally, the Olympics has branding as epic as the games themselves



The games’ first full style guide is longer than the Olympic Charter.


The Olympic Games symbol is one of the most recognised icons in the world. But perhaps strangely, despite logos and poster designs for each individual Olympics, and despite the measures it takes to protect its trademarks, the International Olympics Committee has never had a full brand identity.


Until now, that is. Some 125 years after the first modern Olympic Games, the IOC has developed a full package of brand assets, with colours, graphics, illustrations and three exclusive typefaces. As we’ll see below, there are more colours than you might think. But the branding is very much like the Olympics itself, vibrant, colourful, exciting and with lots of rules. In fact, the style guide – or guides – are among the longest we’ve ever seen.


The International Olympic Committee has presented an epic new brand identity for the Olympic Games ahead of Paris 2024. Of course, the Olympic rings themselves remain as they are, but there’s now a wide-ranging set of graphics, type, illustrations, and colours with rules on possible combinations, all designed to strike a balance between “tradition and modernity” for a visual identity that can exist both online and in physical pieces.


The IOC says it’s the first time it’s created a full set of graphics and typefaces to represent the games across all channels. To do so it worked with the creative agency Hulse & Durrell, on a project that started way back in 2018. It’s already begun using some of the new assets, but it’s now published its full brand guidelines, full-style guides. At 129 pages, the full document is longer than the Olympic Charter, but here’s a look at some of the highlights.



The new Olympic colours


One big change is that the Olympic colour palette has been expanded to include additional darker and lighter shades of the five colours of the Olympics rings. The colours of the gold, silver, and bronze medals have also been incorporated into the palette, along with rules about how they can be combined.



Olympics branding graphics and illustrations


The Olympic brand guidelines include detailed guidance for everything from illustration styles to photographyand infographics. There are 17 official hand-drawn illustrations. Created by artists Francesco Ciccolella, Abbey Lossing, and Karan Singh. the vibrant designs are intended to capture the spirit of the games and were conceived to allow a range of options for cropping to different applications.

There’s also a set of graphics inspired by the geometry of the field of play in various Olympics sports and pictograms depicting all the Olympics events. And there are plenty of rules and recommendations about each should be applied – a dream for anyone who loves directing brand guidelines.



The new Olympic typography


There’s a full set of brand type too. Fabian Harb and Seb McClauchlan from the type studio Dinamo and Julien Hérbert from Canadian design agency Principal were drafted in to develop three exclusive typefaces for the Olympics: Olympic Headline, Olympic Sans and Olympic Serif. The first, with caps only, is described as “bold, athletic and proud” and was inspired by typography used in the Tokyo 1964 and Seoul 1988 emblems.


The new Olympics branding is bright and vibrant and seems to gel well with the spirit of the games. It feels fresh and modern – but at the same time more in line with the Olympic tradition and legacy than the much-mocked Paris 2024 logo.



CreativeBloq, Joseph Foley. September 2022