The instruments already contained Torso Electronics’ visual identity
Before inventing a new visual language, Ozon Studio used Torso's instruments, studied their interfaces and expanded a small vertical bar that was already sitting inside the logo.
Archive
Creative · page 7
IRZ Creative archive, page 7.
At Zayed National Museum, wool becomes research before it becomes heritage
Agata Kurzela Studio treated the museum interiors as material research: raw wool, trials, full-scale mock-ups and collaboration with local makers.
Brussels rebuilds The Great Wave with more than 700,000 flowers
Hiro Sugiyama digitally reworked Hokusai's print. Hundreds of thousands of dahlias now turn it into a temporary 1,680-square-metre image.
At this studio, disagreement is part of the method
OnePlus Studio does not flatten four backgrounds and four sets of references into a house style. The team lets them collide, then slows down the beginning of each project before deciding what to make.
These photographs keep the seams that hold their fantasies up
Cotton, wooden rigs, beadwork, costume and symbolic objects remain legible in the images of Benji Reid and Zana Masombuka. Their fantasy does not depend on hiding how it was made.
Broken furniture returns as something it never was
Since the 1990s, Fumiaki Aono has used abandoned objects as the starting point for repairs that do not attempt to recover the original.
Portuguese accents finally take up as much space as the letters
For Almeida & Dale, Porto Rocha commissioned a typeface where Brazilian Portuguese diacritics are not accessories added at the end. They carry the same visual weight as the letters.
A cartoon elephant makes holiday poverty impossible to hide
Alice Bowsher and Plastic Horse move from brush and ink to After Effects to describe school-holiday financial pressure from a child’s point of view.
Luke Healy makes fake celebrity memories with four panels and a Rotring
One celebrity, one mundane place, one tiny obsession, four panels. Luke Healy repeats that constraint until it becomes a small engine for encounters that never happened.
Julie Jonquet-Caunes gives ordinary objects the attention of a portrait
A clothes peg, envelope or designer stool can receive the same attention. Julie Jonquet-Caunes builds compositions as collages first, then rebuilds them through drawing.