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stilldatum

@still_datum

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가장 넓은 전시 공간, still_datum ✨
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The Sensation of Color — Warm Colour Gathers. In Monet‘s Gardener’s House at Antibes (1888), the gentle warmth of pink and yellow meets the coolness of the blue sky. Warm colours spreading through green foliage give the garden a soft, luminous atmosphere. A Cool Atmosphere. In Monet‘s Water Lilies (Agapanthus), c. 1915–26, purple and green spread over the water, with pink blossoms like small lights. Soft boundaries and cool tones work together to create a quiet mood. Distance in Colour. In Cezanne’s Mount Sainte-Victoire, c. 1904, orange-toned ground feels warm and close, while the blue mountain appears cool and distant. Green connects the two, adding a sense of depth to the quiet landscape. Blue and Orange. In van Gogh‘s The Large Plane Trees (1889), orange leaves and a yellow road sit beside blue trunks. Blue and orange, complements on a traditional painting colour wheel, make one another look more vivid. Complements in Context. In Gauguin’s The Large Tree (1891), red earth meets green foliage, distinguishing their areas. The boundary between these complementary colours divides the space and brings a vivid tension to the still landscape. An exhibition in your hand. A place for things you love. Follow @still_datum to revisit works you enjoyed. — Archive Selection 01. In the Waves (Dans les Vagues) 02. Gardener‘s House at Antibes 03. Water Lilies (Agapanthus) 04. Mount Sainte-Victoire 05. The Large Plane Trees (Road Menders at Saint-Rémy) 06. The Large Tree — Editor / NN Director / NN by @still_datum
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School Work by @still_datum
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2 days ago
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by @still_datum
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3 days ago
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Swissair Destination Posters A Travel Grid Designed from the Sky — A Destination Name Cutting Through the Forest Swissair Brazil, Georg Gerster/1972 A distant yellow road winds through dense green forest like a vast abstract painting. Nature’s overwhelming density meets a clean human order, sensuously tracing a new journey across the land. Borders of Colour Across the Land Swissair Argentina, Georg Gerster/1972 From high above, colours and lines interlock across the land. Calm ochre tones meet sharply defined field boundaries. Natural abstraction and vertical form turn an ordinary landscape into art with greater depth. Reading the Rhythm of the Ground Swissair Africa, Georg Gerster/1972 Traces of terrain and precise cultivation patterns embroider the earth. The vast aerial view holds dense, delicate details. Seen from above, geometric rhythms reveal the land’s calm, ordered beauty. An Abstract Map Made by Salt Ponds Swissair California, Georg Gerster/1972 Vivid red salt ponds fill the frame like watercolour on a vast canvas. Geometric boundaries contrast with unusual luminous colours. Nature and human labour create an unexpected visual wonder. An Industrial Pattern Floating on Water Swissair Canada, Georg Gerster/1972 Timber rafts cover still water in a dense rhythm of lines and masses. Fine, closely woven textures emerge at a vast scale. Industrial traces become a monumental visual pattern, clearly expressing the dialogue between landscape and human intervention. An exhibition in your hand. A place where inspiration blooms. Follow @still_datum to rediscover hidden works. — Archive Selection 01. Swissair Philippines 02. Swissair Brazil 03. Swissair Argentina 04. Swissair Africa 05. Swissair California 06. Swissair Canada — Editor │ NAMSU Director │ NAMSU by @still_datum
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5 days ago
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#Coast by @still_datum
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6 days ago
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Ponyo — Ponyo, Hayao Miyazaki/2008 — Waves with Eyes. Waves beside the road have huge eyes and fish-shaped bodies. The sea is not a distant backdrop: it rushes alongside the characters. Ponyo, Hayao Miyazaki/2008 — A Bucket-Sized Sea. In the green bucket, Ponyo’s face catches the eye before the water. Unlike the vast sea, this small space brings an expression close enough to meet. Ponyo, Hayao Miyazaki/2008 — Light Indoors. A white towel wraps Ponyo’s shoulders; a lamp glows yellow above her head. From dark-blue waves to a wood-toned room, the adventure finds a place to warm up. Ponyo, Hayao Miyazaki/2008 — One Bowl, Up Close. Steam rises over ramen topped with ham, egg and scallions. Familiar ingredients seen up close invite us to imagine the food’s warmth. Ponyo, Hayao Miyazaki/2008 — A Small Table Beside the Adventure. The children brighten at the bowls set side by side. Alongside the wonder of running on waves is the joy of waiting for a meal together. An exhibition in your hand. A place for things you love. Follow @still_datum to revisit works you enjoyed. — Archive Selection 01. Ponyo — Running on fish-shaped waves 02. Ponyo — Fish-shaped waves beside the road 03. Ponyo — Ponyo in the green bucket 04. Ponyo — Towel, lamp and toy boat 05. Ponyo — Ramen with ham, egg and scallions 06. Ponyo — Two children waiting for ramen — Director | K4SUA Editor | K4SUA by @still_datum
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6 days ago
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Geigy Graphic Prints Fred Troller — Rhythm Hidden in a Black Grid Geigy packaging, Fred Troller / 1967 Orderly geometric patterns fill a black grid. Red and blue accents emerge between regular white circles and squares, creating a restrained visual rhythm within a precisely calculated structure. A Page Made by Red Dots Geigy Dyestuffs, Fred Troller / 1964 A vivid red shell meets black dots in a striking contrast. Fine antennae and leg lines extend into generous white space, turning a small ladybird into a witty, instantly captivating graphic. A Bold Page Drawn by a Beak Geigy Dyestuffs, Fred Troller / 1964 A vivid orange beak cuts boldly across the page. Soft black curves and restrained white planes clearly reveal the bird’s silhouette. Text set lightly in the white space deepens the graphic’s lingering impression. Movement Made by a Black Curve Geigy Dyestuffs, Fred Troller / 1964 A black curve sweeps boldly around the page, becoming an animal’s dynamic tail. In harmony with soft white planes, minimal forms and simple colour fields sensuously refine the creature’s rhythmic movement. The Presence of a Teal Plane Geigy Dyestuffs, Fred Troller / 1964 Clear white space flows between a deep black head and a vivid teal body. Restrained planes and clean typography come together in a minimal form, offering a poised balance that draws the eye. An exhibition in your hand. A place where taste lingers. Follow @still_datum to return to the works you loved. — Archive Selection 01. Put Geigy on your team / Ring Geigy for Service 02. Geigy Pharmaceutical drug box (detail crop) 03. Geigy Dyestuffs ladybird poster 04. Geigy Dyestuffs pelican poster 05. Geigy Dyestuffs skunk poster 06. Geigy Dyestuffs duck poster — Editor │ NAMSU Director │ NAMSU by @still_datum
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8 days ago
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9 days ago
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School Work Series glass skeleton by @still_datum
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10 days ago
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Why Does a Still Image Seem to Move? Op-Art Prints — Is colour the answer to movement? In Bellatrix (1963), red and blue trade places between circle and ground from cell to cell. At first, their strong contrast seems to set the still grid in motion. Yet muted colours seem to flow, too. In Coloured Greys I (1972), Riley lowers the saturation and repeats gently curving bands. Even without strong colour, the eye follows their edges and senses a flow. The answer lies at the edges, not in colour alone. In No. 1 (1965), the closely packed circles shift from blue to green, creating boundary after boundary. What produces the sense of movement is less the intensity of colour than the eye continually crossing those repeated edges. So that a scene you loved is not forgotten. We keep records that read art and design slowly. If there is a discovery you would like to revisit, follow @still_datum. — Archive Selection 01. Victor Vasarely, Zett-R.G., 1966 02. Victor Vasarely, Bellatrix, 1963 03. Bridget Riley, Coloured Greys I, 1972 04. Richard Anuszkiewicz, No. 1, 1965 — Director | K4SUA Editor | K4SUA by @still_datum
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13 days ago
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Pieter Huveneers Metaphor-Driven Posters — Savings expressed as balance. Keep your balance in the Post Office Savings Bank, Pieter Huveneers, 1957. A bird standing on one leg meets the idea of financial balance. A short phrase and a simple form turn an abstract concept into an instantly legible scene. Savings as a nest egg. Keep your nest egg, Pieter Huveneers, 1958. A nest and egg are folded into the swan’s body. By drawing the idiom literally, the poster makes savings feel like a life that needs protection. France condensed into one figure. The cigarette of France, Pieter Huveneers, 1960s. A beret, moustache and table setting gather in a single character. Familiar signs compress a national image and immediately communicate the product’s origin and tone. Care instructions turned into movement. Take Care of Your Dog, Pieter Huveneers, 1956. The actions HEEL, SIT and FETCH IT unfold across one image. Repeated silhouettes of a person and dog give the instructions an easy-to-remember rhythm. A route emerging from the flag. British European Airways (BEA), Pieter Huveneers, 1951. The lines of the Union Jack become light and routes extending towards Europe. A national symbol and an aircraft silhouette overlap to show direction and airline identity at once. An exhibition in your hand. A place where taste stays. Follow @still_datum so you can return to the works you loved. — Archive Selection 01. Pepsi-Cola 02. Keep your balance in the Post Office Savings Bank 03. Keep your nest egg 04. The cigarette of France 05. Take Care of Your Dog 06. British European Airways (BEA) — Director | K4SUA Editor | K4SUA by @still_datum
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16 days ago
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Lithographic Stones Reusable Image Matrices — Printing without carving | Britain’s Call to Arms, Frank Brangwyn, 1914-16 Lithography separates image and blank areas through oil and water, not deep grooves. On a dampened, prepared stone, oily ink adheres to the image. From stone to paper | Albert Belleroche, The Ermine Scarf, 1905 Paper pressed against an inked stone receives a reversed image. Maintaining the printing surface and re-inking allows repeated impressions. Do these lines mean reuse? | Stone for The Ermine Scarf, 1905 The stone used for the preceding print bears two scratches across the face. These cancel the image to stop further intact impressions; they are not grinding marks that erase it. A new drawing begins with grinding | Duke University Libraries, 2021 Water and silicon-carbide abrasive are worked evenly over the stone with a heavy tool. Removing the old image means grinding away stone, not merely wiping off ink. The same stone, another use | After grinding, Duke University Libraries, 2021 Reuse can mean more impressions of one image or a ground surface ready for another. This particular stone instead became a leather-paring surface for bookbinding. An exhibition in your hand. A place for your taste to linger. Follow @still_datum to revisit the works you loved. — Archive Selection 01. R. J. Lane after S. A. Hart, Charles Salaman stone, c.1833 02. Frank Brangwyn, Britain‘s Call to Arms stone, 1914-16 03. Albert Belleroche, The Ermine Scarf, print, 1905 04. Albert Belleroche, The Ermine Scarf, stone, 1905 05. Duke Libraries, graining a stone, 2021 06. Duke Libraries, stone after grinding, 2021 — Director | K4SUA Editor | K4SUA by @still_datum
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18 days ago
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