Prolific and extremely talented illustrator Sarah Goodreau created this little set of organs and anatomical illustrations. Having gone to undergrad with Sarah, I always admired her use of color and texture, the above being a great example. So I’m pleased as punch to see her doing some anatomical art! She is definitely an artist to keep your eye on, head on over to her site and see what other illustrations she has cooking.

Photography by Owen Silverwood

There’s something fascinating to me about paper sculptures and the people who create them.  The spatial thinking, dexterity, patience, craftsmanship, etc., is what I truly admire.  England-based Kyle Bean, is a designer who specializes in creating these wonderful paper sculptures.  His work has been featured in numbers international publications, including the heart above for a Men’s Health heart disease article.  He’s also been recognized in publications for his incredible concepts and craftsmanship.

View more of Kyle’s work at kylebean.co.uk

[via NOTCOT]

Noticed this anatomical heart pasteup by street artist NACO while driving through the artsy Pilsen neighborhood in Chicago.  He’s also been putting up Ninja Turtle pasteups around the city, which is awesome.

• 12” x 18” hand printed five color letterpress print
• Hand set vintage metal type
• French 80# cover, true white
• Created and hand printed by the fine folks at Roll and Tumble Press in Little Rock, Arkansas.
• Available at the Street Anatomy store for $25

Stockholm-based graphic designer/illustrator/typographer extrodinaire, Björn Johansson, has recently unveiled his latest anatomical typography project, Garamond Corpus.  What began as an exploration into the literal nature of typeface anatomy, has turned into a truly cohesive anatomical deconstruction of typography.   What I appreciate about Björn is his attention to detail and the cleanliness of his designs.

Björn explains his inspiration:

My purpose was to examine the individual letter, its shape and typographic qualities. Our letters have many characteristics comparable to the human: there’s big and small letters, thin and fat, there’s an indication of movement in the italic letter and every upper-case letter has a younger sibling, the lower-case.

Within the field of typography we have a definition for the different parts of the letter which is called the anatomy of the typeface and partly reminds of our own anatomy: the letters have arms and legs, eyes and ears, spines et cetera.

View more of Björn’s work on his site, solution.se and his Behance!