#ombre

#ombre

'In this paper a novel optical illusion is described in which purple structures (dots) are perceived as purple at the point of fixation, while the surrounding structures (dots) of the same purple colour are perceived toward a blue hue.'

Rooted in the tension between nature and artificiality, the installations pose questions about how we interact with the environment and how we might find equilibrium with it. All of my photographs strain credulity by design. At first blush, they can appear to be digital fabrications, but in truth, they are entirely in-camera, printed with minimal post-production.

To call the oil paintings of Eyvind Earle "landscapes" is accurate but very sorely wanting. For more than seventy years, Earle turned his unique refracting eye on what he called the "stupendous infinity of nature," interpreting what he saw through a long lens shaped by a very particular kind of mythopoeia.

Static images don't show motion. You can't inspect real product structure. You don't see how interfaces evolve over time. You rarely understand what actually works in production. So I decided to go deep. I reviewed every major design reference platform I could find - not just the popular ones - and analyzed how they actually help in real-world work. The conclusion?

Sand Art is a game by Kory Jordan and published by 25th Century Games for two to four players ages 10 and up. It takes about an hour to play, and has you collecting resources and then coloring in a bottle, making art in a bottle out of sand, in case the name didn't give away the plot. Gameplay Overview: Sand Art has you gathering and mixing sand, which is used to fill your bottle.

Originally from Dallas and now based in New York City, I approach photography as an exercise in atmosphere, trust, and control. Trained in the discipline of film and later in fashion photography, I work with both natural and artificial light to construct images that feel cinematic and psychologically charged. Moving fluidly between studio and location, I transform spaces into environments that heighten mood and presence.

A graphic designer that isn't limited to working in 2D, Ward Goes has been working in aluminium of late. His recent solo show in Rotterdam, Literally Anything, was full of things that moved beyond the screen or printed page, including some wonderful metal signage and archival storage. The exhibition at Alley Space was the result of the designer's decision to pursue more tactical investigations alongside his commissioned work at the start of 2025.

From Do Ho Suh's ethereal architecture to Kimsooja's irridescent mirrors to Lauren Halsey's fringed tapestry, a new book from Monacelli celebrates a broad spectrum of light and color. Rainbow Dreams features more than 200 installations, sculptures, paintings, photographs, and more that revel in the possibilities of pigment. Bound in a smooth gradient that extends to the pages' edges, this vivid survey is a celebratory, playful object in itself.

I've recently refreshed the animated graphics on my website with a new theme and a group of pioneering characters, putting into practice plenty of the techniques I shared in this series. A few of my animations change appearance when someone interacts with them or at different times of day. The colours in the graphic atop my blog pages change from morning until night every day.

"Accent walls. Yes, still."

In his graphic design work, Aldon transforms periodic tables and dense masses of information into maximalist pieces of design, expressing information whilst also challenging the impossibility of taking it all in. Data sprawls across screens and pages, overlapping in overloads and feedback loops, communicating more the aesthetic of information rather than its substance, playing with images we have all seen in science classes or colour palettes. These are exploded infographics.

"color drenching" is when people paint an entire room one hue, including the ceiling, wainscotting, and any trim.

We examine the online debate ignited by Pantone's Colour of the Year, Cloud Dancer. This episode dives into the discussion prompted by Pantone, unpacking the uneasy relationship between colour and fascism. From hardline efforts to regulate colour in public life to the ways vibrancy and maximalism reassert themselves, we explore how colour becomes a quiet form of resistance across art, fashion, film, and design.

Considering how this experience could be expressed artistically, he conceived "Domestic Light," which for two years used windowsill sensors in nearly 100 sites globally to record what he describes as "multispectral traces of home."

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