Made of Us & Line 26: two styles about the crowd of everyday life We built two custom Recraft V4 Styles from public-domain works in museum and archive collections. Both look at modern life through the people in it: one builds objects out of tiny people, the other lays our daily habits into tile murals.

1. Made of Us

What if everything we love were made of all the people behind it?

References: Ernst Ludwig Kirchner's Dance Hall Bellevue (1909/1910) at the National Gallery of Art, and Utagawa Hiroshige's View of Fuji san from the Mountains in the Province of Izu (1858) at The Metropolitan Museum of Art. From Kirchner I took the bold Expressionist colour and the thick, outlined brushwork; from Hiroshige, the soft gradients and the calm, layered space. The idea of an object made of people is inspired by yose-e, the playful composite pictures of Edo period Japan. In the posters, everyday objects are built from hundreds of tiny people, one day and one week at a time; in the photographs, real crowds stand together to form the shapes of this month's trends, some of them animated.

2. Line 26

What if a city's metro network had a tile mosaic mural at every station, each one celebrating a habit of life in 2026?

References: Emily Noyes Vanderpoel's Color Analysis from Arabian Illumination (Plate LXVII) from Color Problems (1902), Wassily Kandinsky's Painting with Green Center (1913) at the Art Institute of Chicago, and Theo van Doesburg's Contra Composition (1927–28). From Vanderpoel I took the strict grid of small colour squares and its red, blue, olive and cream palette; from Kandinsky, the expressive curves and layered colour; from van Doesburg, the flat planes and heavy black lines. The result is an imaginary metro network whose stations are named after things we do today, from Tap In and Matcha Line to Run Club and Padel Park, introduced by a street entrance, a network map and the next train arriving, with some murals animated.

Two styles, one subject: the crowd of everyday life, painted person by person and tile by tile.

Slow Light & Soft Tide: two styles about light

I built two custom Recraft V4 Styles from public-domain works in museum and archive collections. Both are about light: one splits it through a lattice, the other lets it settle on still water.

1. SLOW LIGHT (Recraft style name: Gitterglitch)

What if the buildings where we wait were wrapped in a lattice that turns sunlight into colour?

References: Koloman Moser's Plant Stand (1904) at the Saint Louis Art Museum, and Michel Eugène Chevreul's colour plate of the solar spectrum (1864) at the Science History Institute.

From Moser I took the square lattice of perforated metal, the Gitterwerk of the Wiener Werkstätte; from Chevreul, the soft spectrum from red to violet. Together they turn sunlight into bands of colour across bus shelters, waiting rooms, libraries and underpasses, then become the posters, illustrations and logos of an imaginary city that runs on light.

2. SOFT TIDE

What if still water could remember everything that ever passed above it?

References: Claude Monet's Water Lilies (1906) at the Art Institute of Chicago, and a Peach Blow vase by Hobbs, Brockunier & Co. (after 1886) at the Walters Art Museum.

From Monet I took the hazy blue water and the reflections breaking apart in the ripples; from the vase, the glossy glass that fades from rose to milky white. A Ferris wheel, a lighthouse, a bridge and a full moon leave pink reflections on periwinkle water, and pale creatures drift through them, shown as a poster series and as photographs.

Two archives, one material: light, split by a lattice and softened by water.