Everyone knows that actually reading a “terms of service” agreement is rarely (if ever) done by consumers using large digital platforms, but there is something powerful about seeing just how overwhelming this task is in print.

Artist Dima Yarovinsky installed a series of these covering Facebook, Snapchat, Instagram and Tinder on normal-width rolls of paper, creating infographics to display at the Bezalel Academy of Arts and Design.

Titled simply “I AGREE,” the resulting sheets are so long that, even hung up high toward the ceiling, they roll off the wall and onto the floor below.

Per Dima: the average person reads at a rate of 200 words per minute and the average terms-of-service features close to 12,000 words, meaning they would take about an hour to read (assuming the reader didn’t stumble on all the obscure legalese).

By setting it in a standard font in physical space, it becomes much easier to see just how long these agreements are, and what corporations are forcing on those who would use their services.

In Japan, an island nation, waves are symbols long found in a vast array of art, design and craft from around the country, which one author decided to systemize in a three-book series now available for free online.

Myriad ancient wave and ripple examples were carefully compiled and catalogued in black ink by little-known artist Mori Yuzan just over a hundred years ago, detailing different motifs and patterns for other creators and craftspeople to emulate

The sheer variety of waves in these volumes alone is mesmerizing, all fitting into a style yet representing various applications as borders, backgrounds and design details suitable for all sorts of applications..

These Nihonga style (Japanese painting) graphics, typically applied to Japanese washi paper with brushes, can also be applied to anything from everyday ceramics to religious objects, swords, scrolls and wall art.

Perhaps the most famous application of waves remains the Great Wave of Kanagawa, a classic image from the 1800s featuring an enormous wave threatening boats off the coast of the present-day city of Yokohama. While sometimes assumed to be a tsunami, the wave is more likely to be a large rogue wave. As in many of the prints in the series, it depicts the area around Mount Fuji under particular conditions, and the mountain itself appears in the background.

Following the Meiji Restoration in 1868, Japan ended a long period of national isolation and became open to imports from the West. In turn, much Japanese art came to Europe and America and quickly gained popularity. The influence of Japanese art on Western culture became known as Japonism. Japanese woodblock prints became a source of inspiration for artists in many genres, particularly the Impressionists. Hokusai was seen as the emblematic Japanese artist and images from his prints and books influenced many different works.

An usually high-tech form of pseudo-theft, executed by a pair of artists, has resulted in a high-resolution scan of the famous Queen Nefertiti statue at the heart of a dispute between Germany and Egypt. Avoiding the watchful gaze of four guards at the Neues Museum in Berlin, Nora Al-Badri and Jan Nikolai Nelles painstakingly scanned the 3,500-year-old bust over the course of three hours using a Kinect.

Technically, nothing was taken, but the exact contours of the bust are now publicly available, open-sourced by the artists in question.

Their work, itself a sort of art project, is in part a commentary on the question of art ownership and accessibility. The statue in question has been in Germany for over 100 years, but the Egyptian government has been lobbying to get it back.

Since the release of their data dump, thousands of people have downloaded a virtual copy of the statue either to examine or 3D-print a copy. While this is not the same as preservation, it does add layers of redundancy for future researchers should something ever happen to the original figure. Many galleries are already making high-resolution images of famous paintings and drawings available on the web, and there is no reason a similar tactic could not be taken with three-dimensional works as well.

House painting is such time-consuming and meticulous work just to get a single color on a facade; perhaps next time you could clad your home in printed image of the night sky instead.

For the Night House, Chicago artist Kate McQuillen covered a suburban house with a contiguous skyscape of nighttime space images digitally printed on weatherproof styrene panels.

The project was funded by sales of a screenprinted poster and created as part of the Terrain Biennial, an Oak Park-based international exhibition of yard, balcony and porch interventions.

Like some kind of suburban camouflage, the covered sections of the home start to disappear against the backdrop of the sky at the right times of early evening and morning. Read also: The Night House, a poem by Billy Collins.

This holiday season brings fresh printer-compatible designs of low-poly skeletons, monsters, animals and more for the do-it-yourself costumer, all scaled to fit an adult or resizable for children.

Like a polygon mesh in 3D computer graphics (that has a relatively small number of polygons), these masks are leant a haunting effect unique to the digital age, looking otherworldly and surreal like low-resolution computer renderings.

Some models are more complex than others, involving sets of articulated parts that rotate on simple hinges or pivots, like the tail of a fish, trunk of an elephant or the hands of a dragon.

The key ingredients: a printer, some paper of applicable color, glue sticks, craft knife, tape, cardboard and an elastic headband. If you have more time than money, or simply enjoy the process, these models provide a great balance of personal work and creativity within a ready-made outline.

From their maker, Wintercroft on Etsy, who sells the plans online:  “The instructions and templates are designed to be quick and easy to follow. The finished masks are pretty robust due the their polygon construction and will survive the wildest of parties.

More on Steven Wintercroft: “By nature I am obsessively creative and starting making things as a kid with my granddad. I studied Art and design, then furniture studies and have been designing and building custom surfboards since I was a teenager. I’ve worked as a cabinet maker but have spent most of my time as a full time surfboard shaper. I believe that the urge to create is a fundamental part of being human and these masks provide an excuse to sit down, get out the scissors, tape and paint and make something” (via Colossal).