• BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • Moss — a paint colour developed by Barber Osgerby for Blēo
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • BA OS 17 Moss by Edward Barber & Jay Osgerby
  • Moss — a paint colour developed by Barber Osgerby for Blēo
    BA OS 17 Moss by Edward Barber & Jay Osgerby
    Mid green with a high yellow content. Moss recalls the feeling of lush tranquillity in a moss garden in Kyoto, and the associated conditions of peacefulness and balance.
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    The Colour in Projects

    1. House in Frederiksberg in Copenhagen
      House in Frederiksberg in Copenhagen

      House in Frederiksberg in Copenhagen

    Combine With

    • NO DE 06 Shadow Blue by Note (Design Studio)
      NO DE 06 Shadow Blue by Note (Design Studio)
      from 40,00 DKK
    • YV KO 22 Water by Yvonne Koné
      YV KO 22 Water by Yvonne Koné
      from 40,00 DKK
    • NO AR 17 Shifting Sands by Norm Architects
      NO AR 17 Shifting Sands by Norm Architects
      from 40,00 DKK
    Portrait of design-duo Barber Osgerby for Scandinavian colour and design house, Blēo.

    About Still Life by Barber Osgerby

    Edward Barber and Jay Osgerby founded their East London studio in 1996. For more than two decades their work has challenged the boundaries of design,...

    Discover Still Life by Barber Osgerby

    Still Life by Barber Osgerby

    If colour brings life to spaces and objects, a specific dynamism is generated when two colours are set alongside one another. The 18-shade palette of Barber Osgerby’s Still Life derives from the use of such pairings and adjacencies in art: where a painter selects one colour for a form and a second for its shadow. Still Life is also an expression of the way in which these chromatic interactions are impacted by the character of the ambient light, according to the time of day and the cycle of the seasons.

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