With letters mainly being situated on a printed page, one designer Steven O’Neil decided to turn this thought process on its head, well 90 degrees anyway.
Stevens project Lateral 90 is a “typographic interpretation of lateral thinking.” The typeface uses Edward De Bono’s ideas and definitions of lateral and allows typography to be viewed from a different and new three-dimensional perspective. Steven O’Neil a 21 year old London based multi disciplinary designer, initially created a book which explores and displays his indirect and alternative approach to typographic design regarding his Lateral 90 project.
By taking inspiration from John Berger, James Dyson, Thomas Heatherwick and Alan Turing, Steven was able to explore the boundaries of what exactly sideways typography entails.
The book explores the inspirations, thought processes and ideas behind Lateral 90. It also displays the typographic system that Steven developed. By simply turning typography on its side Steven was able to create a grid like system, which in turn pictorially represents the individual letters and glyphs contained within an alphabet.
To fully encompass the ethos of Lateral 90 Steven pushed his typographic boundaries and went further than the realms of a printed publication. By allowing typography to exist within a three dimensional realm Steven was able to apply his typographic system to objects within the real world. As a development of this project Steven was able to create and construct a desk, the shape was influenced and built upon the letter A.
The start of this project was within the printed realm however due to the sideways thinking and endeavours of Steven it could be pushed and explored in different routes which have been previously left untouched. This project just highlights how printed publications can take on a different role within the modern society, by looking at projects a little differently it’s amazing what you can achieve.
More of Stevens work is available on his website – stevenoneil.com
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