OUT OF HAND
i THE SHOP i iii iV V Vi Vii THE HISTORY ii iX X THE WORK iii THE NUMBERS iV
TABLE OF CONTENTS
ALWAYS HANDPAINT 5 ALL TO THE WALL 8 NO SHORTS 10 HEAVY METAL 16 OBJECTS OF AFFECTION 28 WEATHER PROOF 34 VITAL SIGNS 36 CARNAGE ON CANAL 42 HANDED DOWN 44 IN THE BEGINNING… 64 WALLS STREET JOURNAL 70 BROAD STROKES 132
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COLOSSAL
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ALWAYS HANDPAINT We've been at this a while now, and what we've learned is that there is nothing more important than dedication. There have been so many times along the way when sacrificing our standards to accommodate a budget or deadline seemed like the best option, but we always knew that our success or failure hinged on the superiority of our work. We only do one thing at Colossal, and we’re doing it better, faster and more often than any other company ever has. The way to guarantee that this continues is not to compromise but improve. This year, we moved closer toward sustaining the future of our craft by developing new markets, adding unmatchable talent to our team, shifting our apprenticeship program into high gear and finding a permanent home for our headquarters in Brooklyn. Some might wonder how it's possible to constantly reinvigorate and redefine a once-neglected art form. To those naysayers, we only have one thing to say: Look around. When you see the Colossal name on a wall, you can bet the painting next to it is going to be something new, exciting and different. Our business, much like art itself, can always be molded, modified and evolved so that the paint that goes on the wall is as much an expression of our passion and craft as it is the communication of a message. It's with that experience and excitement that we at Colossal remain committed to Always Handpaint. So here we find ourselves again, another year in the books, and we can't wait for what's to come. As they say, time flies when you're having fun. Catch us if you can.
COLOSSAL FOUNDERS PAUL & ADRIAN
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THE SHOP
COLOSSAL
ALL TO THE WALL Every year Colossal grows bigger, better and beyond all expectations. While the business expands day by day, the family and friends who make every painting possible continue to function as a well-oiled machine.
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COLOSSAL
NO SHORTS Every finished Colossal painting is the end product of a rigorous process that begins with a phone call and an idea. From the office to the rigging, every step is handled with care.
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STEP 1. The image is separated into basic forms using a tablet. This wire frame allows the painters to understand how the image is built and is used as a guide during the production process. STEP 2. The artwork is then covered in acetate to protect it during the production process, allowing the painters to match colors along the way.
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STEP 3. The wire frame is then mapped to a grid and projected onto pattern paper. An apprentice traces over the image using a pounce pen, which burns tiny holes along every line. STEP 4. Each color is matched by hand and a final color group chart is made to guide the painters through the application process. STEP 5. Scaffolding is installed and all paints and materials are hoisted to the roof of the building.
STEP 6. Once the scaffold installation is complete, the painting process begins. First, we remove or “coat out” the existing mural. STEP 7. The pattern paper is rolled out onto the wall and rubbed with a bag of charcoal, a process known as “pouncing.” This creates a scaled outline of the wire-framed artwork for the painters to follow.
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COLOSSAL
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STEP 8. Once pouncing is complete, all lines are leveled and squared by hand. STEP 9. The first layers of color painted are the base of the background and cutouts of any lettering. STEP 10. Using the original wire frame as a road map, the painters render the pictorial portions of the mural. STEP 11. When the mural is complete and a final check is done, the scaffolding is removed and the painters move on to the next job.
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COLOSSAL
HEAVY METAL The Colossal stable of trucks, lifts and various mechanical diversions never gets a day off, never complains and never lets us down. Without these workhorses and workavoiders, Colossal would be lost.
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OBJECTS OF AFFECTION While some people lust after the finer things in life, Colossal painters remain loyal to the simple tools and reliable equipment— ropes, rollers and good paint—that get them through every single day and every single job.
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COLOSSAL
WEATHER PROOF What is the most miserable winter work day you can remember? Working in DUMBO during the polar vortex in negative 15-degree weather on a block-and-tackle rig—perfect. What are your best techniques or strategies for getting through harsh New York winters? Whiskey. Can you describe your full winter work outfit? Pile on 25 pounds of clothes and hope for the best. What would you say to people who think you’ve got a great job working outside all day? Those folks obviously have central air and heat, and they could never achieve the tan I get each summer. And it is a great job, despite the elements. What is something particularly difficult about painting in the cold that people wouldn’t suspect? When it's really cold, you can pull a brushstroke and it literally disappears, beads up and won't adhere to the wall. It's like a permanent acid trip. And equally enjoyable.
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THE SHOP
What is the most miserable summer work day you can remember? The most miserable day I can remember was two summers ago. It was 103 degrees out and felt like 115 or something when you were in the sun. It took five of us six hours to block out a wall. That would usually only take two hours. We literally were taking shade shifts. What are your best techniques for getting through hellish New York summers? Best technique for getting through the summer is hydrate constantly. You can drink two gallons of water and never pee once. Sun block is huge. And bags of ice. Can you describe your typical summer work outfit? My work outfit pretty much consists of the same thing I wear all spring and fall. The only difference is the pants get cut to shorts and the tees get cut sleeveless. Less is more—if I can go shirtless I do that as well. What would you say to people who think you’ve got a great job working outside all day? I would tell them try it for a week, and see how great it is. But also they're right. I'd rather be outside on the hottest day at my job than inside in the same chair in the same office every day. What is something particularly difficult about painting in the heat that people wouldn’t suspect? The most difficult thing for me is honestly just keeping the sweat out of my eyes. I wear headbands, bandanas, doesn't matter, it finds its way in there.
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VITAL SIGNS COLOSSAL
A different kind of handiwork is afoot in the back of the shop. With the same attention to detail, craft and hard work as their Colossal brothers and sisters, Matt Wright and Mike Langley bring the art of hand painting down to earth.
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THE SHOP
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COLOSSAL
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ANTI-WORK VEHICLES
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MATT AND MIKE KEEP THIS SPACE IMMACULATE. THEIR DELICATE PAINT WORK ON WINDOWS, SANDWICH BOARDS, VEHICLES, STOREFRONTS, LETTERING AND LOGOS IS EQUALLY PRISTINE.
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DOUBLE-DECKER BENCH DESIGNED FOR DOUBLE THE WORK. OFTEN DOUBLES AS THE LOVE HOTEL.
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ACTUAL PAINTER AT WORK ON ACTUAL JOB
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LIFTED FROM THE LAST REAL HARDWARE STORE IN CHINATOWN, NOW DESTINED TO BECOME ANOTHER NEW CONDO BUILDING.
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THE HISTORY
Our friends threw tons of parties at this spot. One time a guy fell off the fire escape through the awning on the ground floor. Miraculously he got up, came back to the party and kept raging.
At night graffiti writers would climb into our rigs and tag on the wall.
Uncle Steve was your typical shady New Yorker. Sold car stereos, took our money claiming to be the building owner. Not only did he not own the building, he wasn’t even named Steve.
In the mornings the peanut guys would sit in their vats to stay warm.
THE HISTORY
CARNAGE ON CANAL
The wall that changed it all for Colossal stood on the corner of Canal and Greene in Soho. The first mural up was for Rockstar Games’ Grand Theft Auto, but the real mayhem took place all around it. *As told by Anonymous source The parking lot was run by these shady Russian guys who crashed people’s cars then pounded out the dents with rubber mallets and still tried to double charge them.
Meanwhile, the union would roll through and threaten to blow up the giant union rat in front of the wall.
The bootleg Gucci guys and their Connecticut housewife customers were constantly getting raided and chased off by the cops.
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COLOSSAL
HANDED DOWN
The Colossal way is one of craft, commitment and hard work. It has been passed through seven generations so far and continues to this day. Here, we meet some of those who learned from the best, then became the best and are now teaching the next generation to become the best.
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THE HISTORY
JASON COATNEY Can judge incoming weather patterns using sense of smell.
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COLOSSAL
NIKO KONTOS His hours-not-slept to jobs-completed ratio is the highest in the shop.
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THE HISTORY
ARMANDO BALMACEDA World's worst tuber and insists his jungles be concrete.
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COLOSSAL
PAT MCGREGOR Can air drum a perfect version of Rush's "Tom Sawyer."
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THE HISTORY
ELIO MARTINEZ World-famous house DJ but just in Puerto Rico.
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COLOSSAL
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COLOSSAL
JASON JAROSZ From a family of Pennsylvanian steelworker bar brawlers.
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THE HISTORY
LIAM MCWILLIAMS Has never had hair on any part of his face or head since the day he started.
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COLOSSAL
XAVIER BROWN Gary’s nephew, wants to be just like Gary only better than Gary.
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THE HISTORY
ART PASTUSAK Pacific-Northwestern pepper-growing patriarch.
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COLOSSAL
LEVON MESERLIAN Shadow creeper, fence jumper, cat hater.
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THE HISTORY
JUSTIN ODAFFER Forever planning escape from New York.
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ERIK KLASA U.S. Marine. Was trained to sleep in water and wears camo everyday even though we can all still see him.
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THE HISTORY
GARY BAXTER Pedaled his bike from Atlanta to Oregon in 80 days. Was the only one that attended his hero's welcome.
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MARCINE FRANCKOWIAK Welder, carpenter, electrician, painter, artist, bartender. Never ever sleeps.
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THE HISTORY
DAN HARRINGTON Wears Jordans every day and knows all the words to every song on Mariah Carey's Greatest Hits.
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COLOSSAL
1977
WITHIN THE LINES
Trace one line of Colossal lineage through the stories of seven painters.
1994
1997
ART PASTUSAK
I started outdoor painting in 1977. There were great opportunities to advance for those who wanted to put in the time to develop the skills, and I had the heart
PAT MCGREGOR
and endurance to pursue my passion.
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Mario Rueda, Bernardo Sepulveda and
I've been in the business over 20 years
my friend, Tim Solliday, taught me the
now, starting as Art Pastusak's appren-
fine art of painting outdoors. In 1992, I
tice in 1994. The Nike campaign he
quit the billboard business and moved
did brought the quality back to large
to Oregon to paint walls. This is where
hand-painted walls. That spiraled into a
I met Jason Coatney and Patrick Mc-
bunch of work in Los Angeles, then New
Gregor. I’m now a healthy 64, and there
York, as the demand grew. I also painted
are many strange things that I enjoy, but
alongside Steve Sanchez, who taught me
what I enjoy most is working with people
his style of painting big. Then I worked
who are excited about what they do—it’s
alongside James Crespinel, Dan Hole,
quite contagious. I reckon that if I would
Bob Kehoe and a few other guys from the
I started painting my junior year of high
have known how much work it was,
billboard days, learning from them how
school and liked it enough to keep doing
maybe the decision to be an artist would
to create my own style. Back in my early
it. When I was 22, I got my first job as a
have been much more difficult. But here
days at Colossal, I used to paint graffiti
walldog and began training under Art
I stand, with others of a like mind and
on trains with one of the current owners
Pastusak and Patrick McGregor and I
a love of painting, at Colossal. I enjoy
of this company when he first started...
haven’t stopped painting in the 17 years
working hard for those who work hard.
in the work truck.
since.
THE PATRIARCH
SECOND GENERATION
JASON COATNEY
THIRD GENERATION
THE HISTORY
2007
2010
2013
2014
MARCINE FRANCKOWIAK I was a bar owner on Allen and Delancey, saw those guys working across the street, and all I could repeat saying was, 'That's
XAVIER BROWN
all I want to do.' I’ve been painting for over 10 years, two-and-a-half of those
LIAM MCWILLIAMS
years have been in the business. Every lead painter at Colossal has taught me
I was raised in Vancouver, Washington. I
something amazing. It's taking what you
graduated high school in 2014, and right
learn from each of them and bringing it
after moved to New York to get into the
I've always loved the tactile aspects of
into practice everyday. I teach apprenti-
business through my uncle, who was
painting and knew I wanted a career that
ces in my own mellow way. I try to ad-
able to set up a summer job for me. I no-
was hands on. After applying to Colossal
dress key points, like how I learned how
ticed the opportunity in front of me and
three or four times, my portfolio finally
to expedite a wall, or pass on the short-
realized almost right away that this was
made it through. Looking back I'm not
cuts I have learned. But at the end of
what I wanted to do. I’ve been at Colossal
I have no idea how many apprentices I've
sure if it was my painting or my work
the day, I think people learn best when
for a little over a year now, and my drive
trained, probably like 25 to 30 or so.
ethic that got me the job but what I know
they feel comfortable to step beyond the
to excel and grow with this business and
Of those, maybe six or seven actually
now is that both are equally important to
guidelines you are giving them. That's
my admiration for what we do is stronger
made the cut and still work here.
being successful at Colossal.
really important for growth.
than ever.
DAN HARRINGTON
FOURTH GENERATION
FIFTH GENERATION
SIXTH GENERATION
SEVENTH GENERATION
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COLOSSAL
IN THE BEGINNING… Every potential new painter at Colossal goes through an intensive apprenticeship before he or she is accepted into the crew. Requirements for application? Love to work. Colossal is the only shop in the world with an apprenticeship
New apprentices learn quickly that long and strenuous days are
program of this kind. To maintain its highest standards of quality
the norm at Colossal, the weather is usually terrible and there
and craft over the hundreds of murals the shop produces every
are always a thousand reasons why things can’t get done. The
year, it must constantly seek out and train the next generation of
program is designed to reveal those who can emerge successful
world-class painters.
despite failure-inducing conditions. They’ll feel like they’ve
These new recruits come from all walks of life—young, old, al-
been blindfolded, punched in the gut, spun in circles and asked
leged felons, proven scholars—and some have little to no experi-
to paint straight while the deadline races toward them. The vet-
ence. Teaching them how to paint is the easy part. Loving it and
erans look for the ones who persist through doubt and maintain
grinding at it, sometimes under grueling conditions, can never
through exhaustion, and those who do the best are always the
be taught.
ones who care the most. They are the ones who will carry the art and craft of handpainting into future generations.
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THE HISTORY
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COLOSSAL
CLASS OF SUMMER 2015
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THE HISTORY
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THE WORK
WALLS STREET JOURNAL
None of this would matter if not for Colossal’s unparalleled quality and quantity of work. The crews are constantly reminded to remain dedicated to their craft by a series of simple mantras.
THE WORK
YOU COULD PRINT BUT THEN WHO GIVES A SHIT 77
THE WORK
TIME IS NOT LOST IT'S FOUND 85
THE WORK
START TODAY FINISH YESTERDAY 91
THE WORK
EASY DOES NOT DO IT 99
THE WORK
BEST BY TEST 105
THE WORK
FRESH PAINT 109
THE WORK
EARLY IS ON TIME 117
THE WORK
RAT RACERS 127
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THE nUMBERS
COLOSSAL
BROAD STROKES 132
THE NUMBERS
Colossal might be based in Brooklyn, but its reach becomes more global and its production capabilities more expansive all the time. 133
IN 2015, COLOSSAL PAINTED OVER 400 MURALS IN 365 DAYS.
50,000 GALLONS OF PAINT COVERED 250,000 SQUARE FEET OF WALL SPACE.
50 EMPLOYEES GOT THE JOB DONE IN 20 CITIES ACROSS THE U.S.A. DESPITE RAIN, SNOW, ICE, HEAT, WINDSTORMS AND HANGOVERS.
ALWAYS H
ANDPAINT
COLOSSAL
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1. Lola Moeller 2009
16. Matt Wright 2005
31. Patrick Kane McGregor 2005
46. Thurston Coatney 2015
2. Fritz Moeller 2007
17. Jon Airis 2007
32. Tristian Mini Kane McGregor 2012
47. Sexy Steve Shultz 2015
3. Krista Lindahl 2015
18. Jordan Garner 2014
33. Sarah Zaharoff 2015
48. Erik Darling Klasa 2013
4. Daniel Levin 2015
19. Gary Baxter 2009
34. Jim Fitzgerald 2014
49. Justin Jody Odaffer 2010
5. Magic Truman Lahr 2015
20. Niko The Boss Kontos 2013
35. Ashley Wilson 2010
50. Chucky Ray Flores 2015
6. Lyla Lindahl 2014
21. Jason JJ Jarosz 2011
36. Captain Ryan Kunimura 2010
51. Robin Alcantara 2015
7. Jaime Lindahl 2004
22. Fedrich El Chapo Torres 2010
37. Jacey Porillo 2010
52. Pico Paffilas 2015
8. Hazel Lindahl 2009
23. Jay Maldanado 2012
38. Kelly Peppers 2009
53. Alex Paffilas 2015
9. Paul Lindahl 2004
24. Matt Tucker 2006
39. Tallan Smythe 2015
54. Michelle Moyer 2013
10. Mike Lee Langley 2009
25. Levon Meserlian 2014
40. Marcine Franckowiak 2013
55. Michelle Zauner 2015
11. Xavier X Brown 2014
26. Danny Bueno Harrington 2008
41. Timothy Mottola 2015
56. Hartwick Hanson 2013
12. Darin Roberts 2015
27. Mark Harrison 2005
42. Micah Cohen 2009
57. Nicole Formisano 2102
13. Adrian Moeller 2004
28. Armando Mondo Balmaceda 2010
43. Jason Coatney 2011
58. Liam Vanilla Sunshine 2011
14. Samantha Moeller 2004
29. Elio Mandingo Martinez 2013
44. Michael Draghi 2015
59. Nicholas Cummins 2014
15. Will Carlisle 2012
30. Jen Edelberg 2009
45. Amanda Knudsen 2014
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DNAH GOD FO