CMYK magazine

ISSUE #1

CMYK magazine september-october issue 2014 europe usa america latina asia printed in the state of new york

BIMESTRIAL MAGAZINE

URBAN FOCUS

GRAPHIC INTEREST

ART AND DESIGN

LIFESTYLE MAGAZINE

15 EUROS - 20 USD SEPTEMBER-OCTOBER 2014

CMYK REVISFD

ISSUE 1 SEPTEMBER-OCTOBER PRINTED COLOURS

C=0 M=0 Y=100 K=0 C=0 M=100 Y=0 K=0 C=0 M=45 Y=100 K=0 C=100 M=0 Y=0 K=0 C=100 M=90 Y=10 K=0 C=15 M=100 Y=100 K=0 C=75 M=5 Y=100 K=0

ISSUE#1

BIMESTRIAL MAGAZINE

with the participation of ARTISTIC DIRECTORS Laura beretti, Florian Chaudat PAGE LAYOUT DIRECTION Max Vatblé, Marthe de Laforcade GRAPHIC DESIGN Clémentine Pleux, Camille Danneels JOURNALISTS Marine Narquet, Bérénice Trottier PHOTOGRAPHY Pierre Alban Kientz, Hugo Jammes PRINTING DIRECTORS Gabrielle Coze, Fréderique Ollivaud REDACTORS IN CHIEF Julie Greffier, Camille Martin MARKETING DIRECTORS Timothy Gladhill, Jérome Levy ADVERTISING Léo Guitton, Jade Retali, Andrésime Jacottin

SEPTEMBER-OCTOBER 2014

this edition SEPTEMBER-OCTOBER 2014

ISSUE#1

page 13 INTERVIEW

KATE MOROSS Exclusive interview with a rising UK designer

page 14

On the couch with Kate, the Moross studio and her upcoming book.

page 20 COLLAGE

sticking it up to matthieu bourel page 15

A peek-in presentation of a collage artist most dynamic pieces. page 11

Travelling in Bourel’s mind and creative univrse.

page 28 MUSIC

THE MONTHLY MIXTAPE Our selection of the best summer sounds Hip hop specials and fresh new featurings

page 32

page 30 FOCUS

CARLOS CRUZ DIEZ Focus on his contemporary work Light work, in-situ portfolio and pushing the space limits

page 34 PHOTO

MASKED MEN Photoshooting and paper art Revisiting the ethnical and traditional wear

page 53 page 48 DESIGN

page 33

patterns Overlooking the graphic achievements of Georgina Parschiv Patterns, design, women

page 54 INSTALLATION

THE MADE SHOP Adobe logo revival Seven days of Adobe creativity

EDITORIAL

edito In the visual arts, color theory is a body of practical guidance to color mixing and the visual effects of a specific color combination. There are also definitions (or categories) of colors based on the color wheel: primary color, secondary color and tertiary color. Although color theory principles first appeared in the writings of Leone Battista Alberti (c.1435) and the notebooks of Leonardo da Vinci (c.1490), a tradition of “colory theory” began in the 18th century, initially within a partisan controversy around Isaac Newton’s theory of color (Opticks, 1704) and the nature of so-called primary colors. From there it developed as an independent artistic tradition with only superficial reference to colorimetry and vision science. The foundations of pre-20thcentury color theory were built around “pure” or ideal colors, characterized by sensory experiences rather than attributes of the physical world. This has led to a number of inaccuracies in traditional color theory principles that are not always remedied in modern formulations.

The most important problem has been a confusion between the behavior of light mixtures, called additive color, and the behavior of paint or ink or dye or pigment mixtures, called subtractive color. This problem arises because the absorption of light by material substances follows different rules from the perception of light by the eye.

LAURA BERETTI

Ad modiorest odictat urionsequam elique ersperumenem nobistem.

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INTERVIEW- KATE MOROSS

STUDIO MOROSS

LONDON UK

KATE

MOROSs

ILLUSTRATION INTERVIEW ALLY LONG

Kate Moross presents: The punk rock guide to business! What does the punk approach to work entail? Being good at bullshitting. Or to put it in a less in-your-face way – being adept at the art of improvisation. Kate Moross is known for her illustration, design and art direction, but this talk focussed on the things she’s not so well-known for – video, photography, record label ownership, and all the other stuff she made up as she went along.

Kate Moross wearing her tribal tattoo studies shirt for a special shooting.

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INTERVIEW- KATE MOROSS

think work play

Left page: Kate Moross in her home, playing with her corgi.

“colours are promises full of life”

Below: Kate’s rainbow concrete sculpture and colourful environment.

The process of discovery has been part of Kate Moross’ life and work, from childhood and onwards, into her professional life. She taught herself to code so she could sex up her Myspace page (Myspace, lol); she learned how to attach a camera to a microscope and film sugar, window cleaner and food dye to make a dreamy, kaleidoscopic music video; she became a “music visuals person” so she could go on tour with her favourite band; she discovered that to film an ice-cream you make one from mashed potato.

Her career has been an exercise in bullshitting – in finagling and fudging; in not being afraid to venture into new territory, to learn as you go, to take a nutso brief and say “sure I can do that”.

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INTERVIEW- KATE MOROSS

“there is no wall. it’s all about removing the mental limitations you place upon yourself”

The theme of Kate’s talk – “there is no wall” – was all about removing the mental limitations you place upon yourself as a creative. Most of us, when we talk about our work, define ourselves by the media we are comfortable in – as a photographer, or an illustrator, or a web designer, or a typographer. But really, as a designers, we are problem solvers.

Our work always involves a set of constraints, and it’s our job to find solutions to those constraints and problems. We often come to a wall when we work – “I’m not a letterer, I can’t hand-draw this logo” – and the easiest thing to do is to stop and walk away from it. But Kate Moross doesn’t accept that – the wall is really only ever in your mind, and our minds are amazing, adaptive things.

So don’t be afraid to experiment, learn, hack, improvise, and maybe sometimes fail. Be comfortable, but not too comfortable. Challenging yourself keeps the creativity alive.

Kate is still learning, every day.

It’s a well-worn phrase, but it’s true – you can be whatever you want to be.

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Below : Kate’s shelf object collections On the right : A peek-in her shoes apparel

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COLLAGE-STICKING IT UP TO MATTHIEU BOUREL

the art of collage

matthieu bourel Setting foot in Matthieu Bourel‘s warm studioapartment was a relief, after a walk through Berlin’s mucky late December weather. If a limited declination of greys prevailed outside, the French artist’s studio had much more to offer. Every wall and corner is occupied by a selection of his collages.

FREDERIQUE OLLIVAUD

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COLLAGE-STICKING IT UP TO MATTHIEU BOUREL

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“ i’m an artist, researcher, illustrator, and a passionate collectioner �

Boxes of magazines and more collages pile up on the floor, alternating with music records and completed by a purring cat.Before even getting the interview started, I had a pretty clear idea of how prolific Matthieu is. Getting an interview with him was, in itself, an adventure as he is not only a collage artist and a painter, but also finds time in his schedule to be a touring musician (producing electronic music under the name Electric Kettle), not to mention, a father. Many questions rise when encountering a super productive being, especially the quality inclined ones. Matthieu Bourel answered all of them with genuine honesty...

Girl and x-rays, mixed media, antique photography and vector, collage 2008.

COLLAGE-STICKING IT UP TO MATTHIEU BOUREL

“i keep old parismatch issues since i’ve moved to berlin” When asked what he is, first and foremost, Matthieu replies he is a musician, no doubt.

Though he trained in film, he started making music as a teenager and picked up on collage and painting only later. He states without hesitation that he has no formal training in fine arts – what seems to be far from a handicap.

All of what the artist does tends to amalgamate into one single entity, each field inspiring the others: “I would listen to soundtracks of my favourite movies mixed with my own music – while doing collage”. Matthieu Bourel’s work also extends to the digital medium, with animated gif and digital collages.

This way, he points out, you don’t need the physical material, you can easily express an idea – while in some cases making

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thriving always for more

Left page: woman lounging, antique black and white photo and acrylic, 2010.

the images even more alive. Still, his preferred material remains paper, with which he feels he has a beneficial limit, a true, physical contact. His paper, Matthieu started sourcing it while still in Paris – in his neighbour’s trash, reportedly full of magazines. Since moving to Berlin he has kept ordering old Paris-Match issues, but also started sourcing from German books and magazines and has since started producing more art. Berlin, he says, now feels like home. Even if he sometimes thought of going back to France, it now seems clear he is here to stay. “Berlin gives you freedom, there’s something very special about it. It would be impossible to make a living as an artist in Paris.”Wherever he is, however, Matthieu Bourel

Above: The feast and the butler, rainbow acrylic on photography, 2011.

thrives to stay in progress – be it on tour, at home in Berlin, or back in France. He hopes to never stay static, or stuck in a particular style. Even when away from the studio, the artist keeps drawing and collaging in small travel books. The point being to not ever be doing nothing, to escape boredom. His work might therefore change drastically from one series to another – in parallel, his music is quite different from one record to the next, regardless of exterior criticism. “I’m interested in knowing what people think about it, but whether people like it or not, it doesn’t matter. I’m happy when people like it! But I do it to express something personal

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COLLAGE-STICKING IT UP TO MATTHIEU BOUREL

“I need a physical contact with paper”

Above: Empty circular portrait, antique black and white photography, 2009.

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Top right: Woman and mask, duplication and mixed media, black and white, 2009.

– in music and in art.”He will even go back to finished, already exhibited pieces (“The Power of Boredom”, SystM/Brut.

Berlin, 2010) to add new layers and reinterpret the meaning.

“A few pieces were taken off by my son. But it still doesn’t feel finished.”

In the near future, Matthieu Bourel, alias Electric Kettle, is looking to promote his work more actively and to expose his pieces again – not really for the market, but for the push. To have a deadline and to be driven to finish some works.

It seems, in the end, the French artist thrives to be destabilized – to push his limits and allow no preconceived ideas to slow him down. And especially, no boredom.

MUSIC - THE MONTHLY MIXTAPE

+

OUR SELECTION

+

NINO ISRAËL

ASAP ROCKY + + + “Gold chains” Best Brooklyn sound in town, getting back to basics !

THE SPECIALS + + + + “Ghost town” English old school ska, nothing better for a good chill !

A TRIBE CALLED QUEST + + “Greatest hits” Hip-hop like we love it, always a great classic to jam to !

A TRIBE CALLED QUEST + “Can I kick it ?”

Old but intemporal vibes, awesome tunes and beats !

BEASTIE BOYS + + + + “Car thief” The unquestionable kings of music, nostalgic sound !

GRANDMASTER FLASH + “White lines (don’t do it)” New York beat-dropping’s rythm is back for summer !

SHABBA RANKS + + + + “Manhunt” Engaged lyrics, engaging beats! A collection must-have.

THE SKATALITES + + + “Ska king” Time for sharing, do not keep it to yourself!

THE SKATALITES + + + “Guns of Navarone” Laid-back music for joyful people. A treat for the ears !

+ +

+

+ +

A TRIBE CALLED QUEST, PHOTOGRAPHY 1986.

BUY THEIR SONGS ON : WWW.ITUNES.COM

THE

MONTHLY

MIXTAPE This monthly mixtape’s all star, is definetly “A tribe called quest”.

Have a peek at their incomparable sound of all time !

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FOCUS - CARLOS CRUZ DIEZ

Carlos Cruz-Diez (born August 17, 1923 in Caracas) is a Venezuelan kinetic and op artist. He lives in Paris. He has spent his professional career working and teaching between both Paris and Caracas. His work is represented in museums and public art sites internationally. He is represented by three American galleries: Sicardi Gallery in Houston, Texas, Moka Gallery in Chicago, Illinois, and Maxwell Davidson Gallery in New York, New York.

In 1957, he returned to Venezuela and worked at his studio, Estudio de Artes Visuales, and started investigating the role of color in kinetic art. He also worked as a graphic designer for the Education Ministry publications, Caracas.

During 1958-1960, he served as the Assistant Director and Professor at the Caracas School of Fine Arts. During 1959-60, he also taught Typographie and Graphic Design at the School of Journalism, Central University of Venezuela, Caracas.

PIERRE-ALBAN KIENTZ

CARLOS

CRUZ DIEZ the kinetic and op artist‘s ultimate reference.

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FOCUS - CARLOS CRUZ DIEZ

Influences During Cruz-Diez’s time in school, he studied the work of Georges Seurat and Josef Albers, both artists who experimented with color relationships, aesthetics and perception.

While in Europe, he was not only influenced by the Art Movements, he also was influenced by the European surrounding, particularly the plant life, which differed so much from the plant life in his native Venezuela. (concepts of art) He could have, quite possibly been drawn to the variance in color and form. Cruz-Diez is often associated with two Venezuelan Kinetic Artists, Jesús Rafael Soto and Alejandro Otero. All three artists share aesthetic similarities in structure and form, and are considered to have secured Venezuela’s position in the international art world. Although Cruz-Diez arrived in Paris ten years after Soto, their national and artistic connections are apparent.

style Cruz-Diez has consistently worked through his career focusing solely on color, line and (viewer) perception.

His visual style can be consistently identified throughout his work spanning his entire career.

His work contains an element in which the viewer actively participates in viewing the work because the color changes and presents a sensation of movement as the relative position of the viewer changes. Cruz-Diez uses the moiré effect to produce this sensation of motion by his particular composition of lines.Because the image of his work changes as the viewer changes locations, he refers to this changing effect of the image as “vibrations.”

In 1959 Cruz-Diez started working in radiation of color, essentially colored light - which is a form of wavelengths, and abandoned paint as a medium.

gallery exhibitions “Geometric Abstraction: Latin American Art from the Patricica Phelps de Cisneros Cellection”, Fogg Art Museum, Harvard University August–November 2001, Cambridge, MA. “Cordoba Has III Bienal Interamericana de Arte”, October 1966, Cordoba, Argentina.

“Venezuelan Art Show presented by the Consulate General of Venezuela”, Galeria Venezuela, October 1980, New York, NY. “Physichromies de Cruz-Diez: Oeuvres do 1954 a 1965”, Galerie Kerchache, 1965, Paris, France.

“Physichromies, Couleur Additive, Induction Chromatique, Chromointerferences”, Galerie Denise René, 1971, New York, NY. “2002 Geométriques et cinétiques”, Gabinete de Arte Raquel Arnaud, São Paulo, Brésil Cruz-Diez, Galerie d’art de Créteil, France. Cruz-Diez, Galerie Lavigne Bastille, Paris.

Left page : Cruz-diez kinetic installations at the George Pompidou centre in Paris, 2009.

Right page : Pompidou centre installations in Sydney’s MCA, Australia, 2002.

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PHOTOGRAPHY - PAPER PORTRAITS Florian Chaudat is wearing: a white t-shirt creation by Kenzo and a various shades paper tinted mask.

photography LAURA BERETTI assistant photo FLORIAN CHAUDAT clothes styling MAX VATBLE light assistant GERALDINE PACE

MASKS photoshoot MASK (mĂŁsk) n.

A mask is an object normally worn on the face, typically for protection, disguise, performance or entertainment. Masks have been used since antiquity for both ceremonial and practical purposes. They are usually worn on the face, although they may also be positioned for effect elsewhere on the wearer’s body, so in parts of Australia giant totem masks cover the body, whilst Inuit women use finger masks during storytelling and dancing.

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PHOTOGRAPHY - PAPER PORTRAITS

Ad modiorest odictat

Armand Guyomard is wearing: elique a black urionsequam vest by Christian Dior nobistem. and an ersperumenem orange paper mask with strings attached.

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Alejandro Montoya is wearing: a grey shirt from Dolce and Gabbana, and a pink paper cylindrical tube.

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PHOTOGRAPHY - PAPER PORTRAITS

Sebastian Villalobos is wearing: a white shirt from The Kooples and a green paper squared mask.

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Fabian Quitian is wearing: a black and white striped singlet from Eleven Paris and a tri-colored paper head piece.

Alejandro Correal is wearing: a denim vest from Hugo Boss and a red and white paper mask.

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Andres felipe is wearing: a black t-shirt from Armani, a black Chanel hat, and a blue paper mask.

NEW - GEORGINA PARASCHIV

Graphic design is the art of communication, stylizing, and problemsolving through the use of type, space, and image. The field is considered a subset of visual communication and communication design, but sometimes the term “graphic design� is used interchangeably with these due to overlapping skills involved. Graphic designers use various methods to create and combine words, symbols, and images to create a visual representation of ideas and messages.

patterns georgina paraschiv

bucharest romania

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NEW - GEORGINA PARASCHIV Pattern series, pink and computer studies, Georgina Parschiv, 2013.

“i’m inspired by glitch art” A pattern, apart from the term’s use to mean “Template”, is a discernible regularity in the world or in a manmade design. As such, the elements of a pattern repeat in a predictable manner.

A geometric pattern is a kind of pattern formed of geometric shapes and typically repeating like a wallpaper. Any of the five senses may directly observe patterns. Conversely, abstract patterns in science, mathematics, or language may be observable only by analysis. Direct observation in practice means seeing visual patterns, which are widespread in nature and in art. Visual patterns in nature are often chaotic, never exactly repeating, and often involve fractals. Natural

patterns include spirals, meanders, waves, foams, tilings, cracks, and those created by symmetries of rotation and reflection. Patterns have an underlying mathematical structure; indeed, mathematics can be seen as the search for regularities, and the output of any function is a mathematical pattern. Similarly in the sciences, theories explain and predict regularities in the world. In art and architecture, decorations or visual motifs may be combined and repeated to form patterns designed to have a chosen effect on the viewer. In computer science, a software design pattern is a known solution to a class of problems in programming. In fashion, the pattern is a template used to create any number of similar garments. Symmetry is widespread in living things. Animals that move usually have bilateral or mirror symmetry as this favours movement. Plants often have radial or rotational symmetry, as do many flowers, as well as animals which are largely static as adults, such as sea anemones. Fivefold symmetry is found in the echinoderms, including starfish, sea urchins, and sea lilies.

NEW - GEORGINA PARASCHIV

Pattern series, glitch art and television, Georgina Parschiv, 2013.

“i love patterns, they’re everywhere”

Among non-living things, snowflakes have striking sixfold symmetry: each flake is unique, its structure recording the varying conditions during its crystallisation similarly on each of its six arms.

Crystals have a highly specific set of possible crystal symmetries; they can be cubic or octahedral, but cannot have fivefold symmetry (unlike quasicrystals).

Some mathematical rule-patterns can be visualised, and among these are those that explain patterns in nature including the mathematics of symmetry, waves, meanders, and fractals. Fractals are mathematical patterns that are scale invariant.

This means that the shape of the pattern does not depend on how closely you look at it.

Self-similarity is found in fractals. Examples of natural fractals are coast lines and tree shapes, which repeat their shape regardless of what magnification you view at.

While self-similar patterns can appear indefinitely complex, the rules needed to describe or produce their formation can be simple (e.g.

Lindenmayer systems describing tree shapes).

In pattern theory, devised by Ulf Grenander, mathematicians attempt to describe the world in terms of patterns. The goal is to lay out the world in a more computationally friendly manner.

In the broadest sense, any regularity that can be explained by a scientific theory is a pattern.

As in mathematics, science can be taught as a set of patterns. In computer science, a software design pattern, in the sense of a template, is a general solution to a problem in programming.

A design pattern provides a reusable architectural outline that may speed the development of many computer programs.

Alan Turing, and later the mathematical biologist James Murray, described a mechanism that spontaneously creates spotted or striped patterns, for example in the skin of mammals or the plumage of birds: a reaction-diffusion system involving two counter-acting chemical mechanisms, one that activates and one that inhibits a development, such as of dark pigment in the skin.

CLÉMENTINE PLEUX

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INSTALLATION - THE MADE UP SHOP

When Adobe asked us to re-imagine their logo, we were super excited.

The Made Shop works primarily in graphic design, but our background comes from architecture and object design, and we enjoy blurring the distinctions between those fields and getting our hands dirty making physical objects for graphic projects whenever we can. Among the many tools we love and rely on in our shop on a daily basis — pencils, Photoshop CC, power tools, Illustrator CC, sketchbooks, After Effects CC, exacto knifes, InDesign CC, erasers — a good many of them have that Adobe logo on them — so we couldn’t wait to get our hands on it.

the made shop LOUISE HARLING

BACK TO THE DRAWING BOARD: PENCILS CREATIVE FUEL: COFFEE & SUGAR FERTILE GROUND: FLOWERS CAPTURING THE EPHEMERAL: SMOKE BOMBS

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INSTALLATION - THE MADE UP SHOP

We just recently gave a talk about how the (physical) tools and materials you use have an inherent friction, or grain, that influences and shapes your project as it pushes back against you — which is a frustrating but also wonderful thing. But the best digital tools should be just the opposite — they are inherently frictionless.

They recede and disappear while still invisibly supporting and enabling you to capture and craft your ideas. So when asked to re-imagine the Adobe logo and given two weeks to complete it, we started with a simple question: How do you capture the aesthetic of good creativity software? But it struck us quickly that there is no inherent aesthetic. It’s not what it is, but what you

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make with it. It’s an invisible armature. It helps shape and support and present your work. So we decided that, rather than making a single new logo, we’d spend the first week designing and constructing the logo as a simple, empty, clear cube. And then during the second week, we’d fill the cube each day with any number of materials that reflect our daily design process, frustrations, creative fuel (coffee, of course), inspiration, challenges, and so on as the mood struck us.

The final re-imagining of the Adobe logo then is not any single image — but rather a sort of open-ended structure and process for creating an ever-expanding set of images from whatever raw material and ideas surround all of us each day.

On the first day of work we decided to turn the Adobe cube into a fishbowl. Starting work on any large design project can often feel a bit like moving into a fishbowl: exposed, on display, admired, trapped. We started with 300 pounds of ubiquitous aquarium rock, added 22 gallons of (aerated) water, and then brought in 130 temporary fish friends to spend the day with us.

(And I should say — no fish were harmed, and all were returned alive and happy to the local fish store at the end of the day). On the second day of work we went back to one of the most basic tools of design: the pencil. We bought 8,000 pencils, stacked half of them eraser-side-out,

and then went through a series of trials and errors trying to figure out an efficient way to sharpen the rest of them (in the end we found a power drill could sharpen an entire pencil in about 2.5 seconds) to fill the ‘A’ with the shavings. Early in any design project, apart from the actual work of designing, you often find yourself ruminating, mulling, and just chewing on the problem (often outside of work, driving, showering). While it doesn’t always feel particularly productive, I find it enjoyable and have a hunch that this seemingly mindless circling ends up setting the stage for later insights and breakthrough.

On the fourth day of work, we wanted to capture the feeling of being struck by an idea late at night. As any creative worker knows, some of our best ideas and breakthroughs come in the middle of the night, glowing, ambiguous, and enticing. We filled 500 balloons with small LED lights, then broke out some fluorescent black lights, drained the ink from a bunch of highlighters, and poured the glowing mixture into the ‘A’ while shooting away.

FASHION - AIR MAX REVIVAL

JULIE GREFFIER

AIRMAX REVIVAL

TOP LEFT : AIR MAX 360

TOP RIGHT : AIR MAX 180

DOUBLE PAGE : AIR MAX 90

FASHION - AIR MAX REVIVAL

“we’re putting up front customer style” TOP DOUBLE : AIR MAX + 2013

Nike introduced its Air Cushioning Technology in 1979. By embedding Air Cushioning in the midsoles of its running shoes, it changed the way athletes approached and reacted to athletic performance forever. Eight years later, as Nike continued to bring the latest scientific discoveries to footwear design, the Nike Air component became larger – meaning greater cushioning and comfort – and was made visible for the first time in the Air Max shoe: now athletes could see as well as feel the benefits of Nike Air. Many Nike Air products were developed since then and many of them grew to become icons on and off the track. The Nike Air Max shoe uses a large air cushioning unit at the heel which is visible from the side of the midsole in most models. Types of Air Max cushioning include: 180 Air in the early 1990s which was visible through the bottom of the shoe (although smaller portions of Air units

are visible through the bottom of many Air Max models) “Air Max2” which does not have the holes in the cushioning unit and is of high pressure, “Tube Air” which is visible in several small circles on the midsole of the shoe, “Total Air” which is another word for full Air Max cushioning, “Tuned Air,” which is a system of individual pods tuned to different areas of the foot, Known as the Air Max III until 2000, when it was reissued taking its name from the year of its launch year. The original colourway of white/black/cool grey with infrared was chosen to exaggerate the thickness of the sole air cushion. Nike specially designed a pair of Nike Air Max 90s for President George H.W. Bush. Images of the customized sneakers have been seen around the Department of Nike Archives, and feature AIR PRES branding along with what appears to be an entirely unique colorway.

“vintage fashion is a source of constant inspiration” BOTTOM DOUBLE : AIR MAX + 2012

ISSUE #2 BIMESTRIAL MAGAZINE

design special

art issue

15 EUROS - 20 USD SEPTEMBER-OCTOBER 2014

CMYK REVISFD

colour loving

photo coverage