- Optica NormalOPTICA Normal is a typeface built with the help of orthogonal lines assembled together in a fixed order. In this optic game we can perceive a pattern texture but if you analyze the line directions you will see the text inside. This type performs better at large sizes. OPTICA Normal is a tribute to the Colombian artist Omar Rayo´s optic art.
2008 - Project featured by the blog ilovetypography.com2009 - Project featured by typographyserved.com2009 - Certificate of excellence in type design by the Type Directors Club2009 - Font review by fontfeed.com2010 - Nominee to Designpreis Deutschland 2010
2010 - Certificate of excellence in type design by Tipos Latinos
- YVES PETERS | The fontfeed | contributor
" OPTICA Normal is the most insane type design I’ve seen in a very, very long time, possibly ever. I don’t know whether to love or hate it – I get both a splitting headache and the giggles trying to figure out the words. Yet the fact that this actually happens makes me admire it even more. The typeface consists of geometric characters created by flipping the slant in a fixed pattern of diagonal lines. This optic game creates almost subliminal word images within the pattern texture. Theoretically those should become legible by analyzing the line directions, but frankly when trying that it only becomes worse. I personally found the best way is to relax the eyes and let them go slightly out of focus, because if you try to hard you just go completely bonkers "
- JUGDGE'S CHOICE | RICHAR KEGLER | Type Director Club 2009 |" The promise of Excellence in Type Design made the judging of the 165 entries difficult. There were many designs that demonstrated skill and understanding of type design level of excellence but were still eliminated for various reasons. Perhaps the field of type design grows so much every year that the cumulative pool of designs make truly unique and exceptional harder to reveal themselves. To contribute something new to such a studied and focused field risks failure or redundancies at every turn.
This entry was thought at first to be possible a put-on. It wasn't until several hours of judging and returning to this design bleary-eyed that the letters finally emerged for me. Before then, it was simply an engaging piece of op art. The seamless lockup as a solid field of intersecting lines at 90-degree angles, even in the negative space, creates something quite jarring. As a readable, functional font, it is, well not. As a display face, it is unique, clever, and once deciphered, very memorable. The level of engagement is the polar opposite of Beatrice Warde's "Crystal Golbet" treatise. It was unknown at the time of judging that the designer was from Mexico, but the Aztec-Mayan pattern filtered via Mexico '68 Olympic identity system seemed to be the clearest precedent for this, making it culturally authentic as well as excellent. "