Gallery wall on white paper. ARTU treats the viewing space like a museum spread—large-scale product photos, subtle markings, and a single touch of lime at the bottom that completes the composition.

ARTU functions like a furniture gallery in a browser format: a single, custom-made, neo-grotesque typeface in a single color, a stark white canvas, product photos that fill the entire viewport, and a near-total absence of visible interface elements. The discipline is extreme—one color, one font family, two surface colors—and negative space serves the same purpose as shadows and gradients elsewhere. Color is used surgically: a rich lime green (#d7ff66) accents the page only at the bottom as a final cue, while a rich red (#ff1313) appears as thin border lines and icon strokes—deliberately lacking contrast, it functions as a graphic rhythm rather than information. As a result, it feels less like a commercial website and more like a spread from an art book: the products are the layout, the layout is the empty space, and the interface is a thin, black line of all-caps navigation in the top corner.

A single-column, single-page image gallery. The first screen displays a full-width splash page photo with a thin top navigation bar (logo on the left, menu items separated by commas, language/cart/menu on the right) and minimal carousel arrows in the lower-right corner of the image. Below the splash page photo is a thin black dividing line, followed by a spacious image grid, asymmetrically combining different scales—small thumbnails, medium squares, and large portrait images of varying widths (approximately 25-1/2 pages), all on a white background, with no gaps wider than 2/2. The page ends with a full-width stripe at the bottom of the page, in lime green (approximately 24-4). Overall, the impression is of a printed catalog—the typography is in the margins, the photo occupies the center, and the lime green stripe completes the composition.

Photography is the entire visual identity. Full-size, high-quality shots of furniture and chairs, taken with warm interior lighting and natural shadows on white or wood floors. The first main image fills the entire screen from edge to edge. The gallery section uses an asymmetrical editorial layout, with images of varying scales and aspect ratios (1:1, 3:4, 2:3) arranged with wide white spaces, without captions or overlays. There are no illustrations, no icons except a few thin red strokes, no abstract graphics, and no lifestyle photography—the subject is always the subject, captured in context, never decorated.