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.