Op Art (Riley / Vasarely)

Op Art turned perception itself into the medium. In the 1960s, Bridget Riley's undulating monochrome stripes and Victor Vasarely's impossible cubes proved that pure geometry could make a static image vibrate, flicker, and seem to move. The 1965 MoMA exhibition "The Responsive Eye" crystallized the movement into a global visual language.

The design system inherits that discipline: maximum-contrast black and white, hard edges, zero radius, flat surfaces, and mathematical grids. Color enters only as signal — Vasarely's primaries — never as decoration. Every line is calculated; nothing is hand-drawn.

光效应艺术（Op Art）诞生于 1960 年代，是一场用纯粹几何学挑战视觉本能的运动。英国艺术家 布里奇特·赖利用黑白条纹让画面颤动，出身匈牙利的维克多·瓦萨雷利用色块拼出不可能的立方体， 1965 年纽约现代艺术博物馆的《敏感之眼》展览则将这股浪潮推向全球。它的语言是数学本身—— 干涉纹、残像、图底反转——让静止的图像在你眼前晃动。

这套设计系统继承了它的严苛：黑与白的极限对比、零圆角的硬边、绝对平整的无阴影表面， 以及严格对齐的网格。只有当色彩作为信号出现时，才会启用瓦萨雷利的蓝、红、黄、绿—— 从不用来装饰。每一条线都经过计算，没有一笔是徒手的。适用于追求秩序、机械美感与智性表达的界面。