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Paper World View reimagines everyday reality as a handcrafted paper universe. I wanted to transform an ordinary environment into a magical world where buildings fold into origami architecture, trees become layered paper sculptures, clouds are crafted from folded sheets, and roads unfold like paper.
The goal was to blend the charm of handmade paper art with cinematic realism and a stop-motion aesthetic, creating an immersive AI transformation that feels both nostalgic and imaginative.
Instead of a simple visual filter, this Lens offers users the experience of stepping into a living paper-crafted world filled with creativity and wonder.
The Lens is available on Snapchat. Use the links above to try it and experience the transformation yourself.
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The network for creativity
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I went into The Met's open access archive looking for a textile. I found the pattern I wanted on a suit of armour instead.
Greenwich, 1586. George Clifford was Queen's Champion to Elizabeth I, and his garniture is etched and gilded with her cipher, two E's back to back, repeated across every plate from helmet to sabaton without a break. Not a badge on the chest. A repeat running over an entire body, worn by royal licence, three hundred years before any house put its initials on a bag.
So I took it off the steel and put it back on a body.
RUNNING CIPHER is one woven matrix and eight streetwear pieces cut from it, shot on Yorkshire moorland in winter with the sun never higher than eighteen degrees above the horizon. My first matrix was wrong: I kept the cipher at armour scale and it collapsed into generic damask. Enlarging it four times was what made it read as a garment print instead of wallpaper. That failed version is still sitting on the canvas next to the one that worked.
The casting carries the argument. Clifford's only child, Anne, was written out of the inheritance when her father left the northern estates to his brother. She spent thirty-eight years in court, won in 1643, and rebuilt the castles herself. The mark he borrowed from a queen is now worn by the women who took the land back.
Everything is on the canvas: the Met plates that fed the matrix, every rejected generation, the casting tests, the frames that did not make it.
Original work: https://www.metmuseum.org/art/collection/search/23939
Armor Garniture of George Clifford, Third Earl of Cumberland. Jacob Halder, royal
workshops at Greenwich, 1586. The Metropolitan Museum of Art, 32.130.6a–y. Open Access.
@floraai #FLORAMuseum
this is such a unique concept!
Been exploring WebGL + shaders through this cylindrical image gallery.
A few things I’m taking from it:
- Think about the surface before the individual images.
- Small speed differences can add a lot of depth.
- Shaders work best when they support the interaction.
- Most of the polish is in fixing seams, timing and transitions.
- Performance quickly becomes part of the design.
Still experimenting with how far this can go while keeping it useful for real websites.
Super cool animation Franco!! 🚀
WHAT WE WEAR TO PROTECT
What if historical armor left the museum and walked into a 1990s fashion editorial?
For the #FLORAMuseum challenge, I used four original armor pieces from The Met as my creative brief — without changing the pieces themselves.
I only changed the context: real models, fashion photography, a magazine cover and a VHS-style behind-the-scenes.
5,000 years of protection. One new context.
Original references from The Met:
Built with @floraai
#FLORAMuseum
