Re-search

—using space, the eye and paper to

manipulate how letterforms
are recognized
Using Space
Paula Scher & Andrew Freeman
Anamorphic text for Grey Group with the goal of an exciting interior. Made from wood, glass,
metal, polymer using reflection, transparency, lighting and pattern for the optical illusions.
Joseph Egan & Hunter Thomson
These guys are graduate students from the Chelsea College ofArt Design (UK) studying the
relationship of architecture and graphic design via anamorphic typography. This is a collaborative
experiement for their final major project exhibition.
Axel Peemoeller
This designer from Australia won several design awards for the three-dimensional directional system
he created inside the Eureka Tower Carpark in Melbourne, Australia
Stella Battaglia and Gianni Miglietta
These two have spent their entire carees researching and creating anamorphosis.
Felice Varin
Although not relating to actual type, in 1979, Varlin began studying anamorphosis in France.
George Michael Brower
This guy has dissected the process of creating anamorphic type. He does so through plotting and
manipulating the forms on the z axis.
Using the Eye
Colin Wilbourn
This isn’t typography, but it shows the process of ceating anamorphic sculture on a flat surface.

Historical Anamorphic Use

This isn’t a new idea. It relates to trompe l’oeil (French for deceiving the eye) Used at St. Ignazio in
Rome from Andrea Pozzo and functional purposes such as road signs using foreshortening.
Bridget Riley
Primary influence on the development of optical art in the 1960s. Creating
illusions of space on two-dimensional surfaces only.
Yehrin Tong
She likes to make “illusory, eye-boggling patterns and typographical illustration” using intricate dtail
on artifacts like billboards, fabric prints and editorial illustrations.
Takenobu Igarashi
As a Japanese designer, Igarashi uses three dimensional letterforms in
sculpture, publication print and graphics.
Using Paper
Jerome Corgier
These letters were made entirely out of cut paper.
Kyosuke Nishida
“Still Life Comes Alive” is a typographical installation by creative director Kyosuke Nishida, art
directors Brian Li and Sean Yendrys, and other team members: Dominic Liu, Stefan Spec, and
Duc Tran that use three dimensional letterforms and light created from paper.
Isaac Salazar
Book origami has a similarity to spatial typography and how the eye sees the image/text.