Letterform Archive is a nonprofit center for inspiration, education, publishing, and community.
The Archive was founded by Rob Saunders, a collector of the letter arts for over 40 years, as a place to share his private collection with the public. We opened to visitors in February 2015 and now offer hands-on access to a curated collection of over 50,000 items related to lettering, typography, calligraphy, and graphic design, spanning thousands of years of history.
So far, the Archive has welcomed over 5,000 visitors from 30 countries, including students, practitioners, and letterform admirers from every creative background. Some come with specific research ideas in mind, while others are simply looking for inspiration. Invariably, thanks to the breadth and accessibility of the collection, they stumble on something unexpected. Serendipity is key to the Archive experience.
In addition to hosting visits and public events, the Archive serves a global community through social media, state-of-the-art photography, and publications. We offer courses and workshops in type design, calligraphy, and typography. We also curate exhibitions of our holdings, organize lectures by visiting artists and designers, and host salons and receptions to showcase collections or celebrate out-of-town guests.
The best way to support what we do is to become a member.
We hold physical and digital artifacts in a variety of formats, including books, periodicals, posters, sketches, original art for reproduction, and related ephemera, as well as a robust reference library. Together, these works chronicle the history of written communication, from the invention of writing and medieval manuscripts to modernism, the age of print to the present explosion of digital type. See a sampling.
The Archive doubled its holdings in 2015 by acquiring the typeface specimen collection of the late Dutch publisher Jan Tholenaar. Recently donated archives include Emigre, pioneers of experimental digital design; Ross F. George, author of the Speedball textbooks; and Aaron Marcus, a seminal figure in computer graphics. Also featured prominently in the collection are Rudolf Koch, Jack Stauffacher, Irma Boom, and Piet Zwart.
April Harper, Photographer, has art and books in her blood. Raised by a photojournalist and a multidisciplinary artist, and educated as a librarian, the Archive magically combines her love of history, writing, and preservation. World-class collections photography is one of our top priorities, and April trained with the best: E. M. Ginger. The two met while April was working as a commissioner for Oakland Public Library. It later led to an apprenticeship where April learned 42-Line’s unique methodology for the accurate digitization of rare documents. April enjoys the engineering challenge of shooting objects with unique formats as she produces the imagery for the Archive’s books and websites.
Kate Long, Librarian, has a profound interest in book arts, typography, and concrete poetry, stemming from high school where she made art with abandoned Letraset, and later as the editor of a literary magazine where she enjoyed working with designers, artists, and writers. She also gained an appreciation for 20th-century graphic design while at the award-winning studio, Office. Kate earned her MLIS through Drexel University, which will serve her well as she helps to preserve and catalog the collection. She relishes helping people access the things that interest them.
Hank Smith, Collections Assistant, found his passion for book arts while studying at Reed College (BA in English) and working with fellow writers, collectors, and literary archivists, including David Abel of Passages Bookshop. As a writer of poetry and a bookmaker himself, Hank’s love of language is simultaneously bound in meaning and aesthetics. That’s evident not only in his care for the material at the Archive, but also his own poetry. When not spending time with the written word he’s projecting it from the stage at a reading.
Paola Zanol, Collections Associate, joined the staff after volunteering for over a year. She was raised in Belo Horizonte, Brazil, by a mother who steeped her in sustainable product design, fashion design, and tridimensional expression. After earning a BA in Fine Arts, she rediscovered her love of letters and sought out a design education at San Francisco City College, where she earned certificates in Visual Media Design, Web Foundation, Illustration, and Digital Media. Among Paola’s many talents are flamenco dancing and Afro-Brazilian percussion.
Johnny Avots-Smith, Director of Development and Operations, first fell in love with type when he picked up the photo font discs from his mother’s typesetting machine as a kid. He has spent the last decade working in all sorts of nonprofits: big universities, small theater companies, regional public television stations. He earned his BA and MNA (Master of Nonprofit Administration) from the University of San Francisco and is a Certified Fund Raising Executive (CFRE).
Elise Carlton, Office Manager, brings to Letterform Archive a passion for typography and print production informed by her training and experience as a graphic designer. She earned her BA in Sociology from the University of California, Santa Barbara before returning to school in Los Angeles for a BS in Graphic Design. She produced award-winning brand identity and package design at a small agency in Venice, California before joining Letterform Archive, where she supports the daily operations, guest services, and general management of the organization.
Stephen (Stewf) Coles, Associate Curator & Editorial Director, joined the staff after serving on our Board of Directors since its inception. Born in Salt Lake City, he moved to San Francisco in 2004 to serve as FontShop’s creative director. He later worked as an independent consultant, connecting font makers with font users, and wrote the book The Anatomy of Type. With his background in design and journalism, combined with an obsession for type history, Stephen is responsible for the online face and voice of the Archive, and helps to shape the future of the collection. He will continue to publish the influential websites Typographica and Fonts In Use which will now frequently feature content from the Archive.
Florence Fu, Editorial Associate, brings unique historical knowledge and analytical insight to the way we talk about our collection. She first gained an appreciation for typography as a designer for campus publications at Northwestern University where she pored through texts by Bringhurst, Noordzij, and Smeijers. Degrees in Art History and Journalism helped her think critically about images and convey that insight in long-form academic essays and briefer news stories. This experience, combined with her time as a student docent at the Block Museum of Art, cemented the importance of community education in the arts, and she looks forward to continuing that engagement at the Archive.
James Edmondson, Type West Lead Instructor, followed his graphic design degree from California College of the Arts with a masters in type design from The Royal Academy of Art in The Hague, Netherlands. James lives in Oakland and runs OH no Type Company, an independent foundry focused on display faces and expressive lettering. He has several years of type design teaching under his belt at CCA and Type@Cooper West, and leads the Type West design courses throughout all three terms.
Grendl Löfkvist, Education Director, teaches type history and theory in the Type West program. Outside the Archive, Grendl teaches the history of graphic design, book arts, typography, and letterpress printing at City College of San Francisco, as well as calligraphy at the San Francisco Center for the Book. Grendl has ink in her veins: she was an offset press operator for 20 years; and she serves on the board of directors for the American Printing History Association’s Northern California chapter. Her interests include the study of printing as a subversive “Black Art” and she’s always on the lookout for bizarre or macabre print, type, and lettering lore (she is a bit of a goth).
Rob Saunders, Executive Director, Curator, and Publisher, is a designer, teacher, publisher, and management consultant, who has collected graphic design and letterforms for over 40 years. Rob began his career teaching at The School of the Museum of Fine Arts Boston and Tufts University, while serving freelance clients and agencies, before founding a book publishing enterprise that included Alphabet Press (graphic design), Picture Book Studio (children’s books), and Rabbit Ears Books (book/audio packages), which was eventually acquired by Simon & Schuster. Prior to founding Letterform Archive he served as a creative and marketing consultant with clients in the hospitality, technology, and financial industries.
Priscilla (Skilla) Zaccalini, Executive Assistant, has a long history of bringing people together and getting things done. Ever since she was a kid watching her father paint and write, she’s relished the opportunity to generate art and poetry in unexpected places. For 25 years, those places included law firms, where she enriched community, education, and diversity through creative and literary projects. Now she’s helping the Archive run smoother and happier. A previous boss once teased her, “You’re always coming up with ideas.” That’s exactly what we love about her.
Lucie Parker, Associate Publisher, made her first book when she was three years old, and — 200-plus titles later — she shows no sign of letting up. With nearly 15 years’ experience crafting best-selling books for the trade and gift markets, Lucie specializes in producing high-end, design-driven books, often in collaboration with museums — such as the Exploratorium and the Walt Disney Family Museum — and magazines, such as Popular Science. Lucie was formerly a senior editor at Weldon Owen Publishing, where she developed more than 20 art, lifestyle, and technology titles a year. We are thrilled to have her expertise and enthusiasm as we ramp up the Archive’s publishing program.
Molly O’Neil Stewart, Assistant Managing Editor, can’t bear getting rid of a pretty piece of paper. She studied creative writing at UC Santa Cruz and began working as an editor after moving to San Francisco in 2009, where her immersion in the world of illustrated books began as Managing Editorial Intern at Chronicle Books, and then Associate Lifestyles Editor at Weldon Owen, where she nurtured titles on science, interior design, animation, and more. Her work with textiles, ceramics, and other arts have also made her a geek for design, so she’s right at home building beautiful books that share the Archive’s collection.
Chris Westcott, Assistant Editor, took to design in high school and college, working by moonlight on web and print projects while studying widely in the humanities. Chris’s research life led from Columbia University to a Ph.D. in English at Johns Hopkins, where he taught courses in writing, literature, and social thought. With publishing experience at Verso and the University of Chicago Press, and with a restless interest in books that reveal new prospects and help us tell richer stories, Chris is excited to see future Archive titles into print.
Karl Hellman is a marketer, management consultant, and author. He has an MS from Northwestern University and a Doctorate in Business Administration from Georgia State University. He is the founder of Resultrek, a global consulting firm serving clients such as JP Morgan Chase, Wells Fargo, UPS, Coca-Cola, and Telefonica, and the author of The Customer Learning Curve.
Susan Kare received MA and Ph.D. degrees in fine art from New York University. In 1983 she began her career at Apple, Inc. designing the screen graphics and digital fonts for the original Macintosh. From the paint bucket and trash icons to the crash bomb and smiling Mac, her concise and charming visuals made computer interfaces more humane, and many of her metaphors are still used throughout the industry today. Kare went on to design for NeXT, Microsoft, Facebook, Wired, and many others. She was awarded an AIGA Medal in 2018 and her work is part of the permanent collections of MoMA and SFMOMA. Susan is currently a creative director at Pinterest.
Jennifer Morla is President and Creative Director of Morla Design in San Francisco, and an adjunct professor at California College of the Arts. With over 300 awards of excellence, she has been recognized by virtually every organization in the field of visual communication. Her work is part of the permanent collections of MoMA, SFMOMA, the Smithsonian Museum, the Denver Art Museum, and the Library of Congress. Jennifer serves on the boards of numerous art and design organizations and has been on the SFMOMA Board for Architecture and Design since 1995.
Megan Prelinger is a cultural historian and the author of two books: Inside the Machine: Art and Invention in the Electronic Age (2015), and Another Science Fiction: Advertising the Space Race (2010). She is also co-founder and information designer of the Prelinger Library, which specializes in 19th- and 20th-century historical ephemera, periodicals, maps, and books not commonly found in other public libraries.
Louise Sandhaus is a graphic designer and design educator and is a former program director and current faculty at California Institute of the Arts (CalArts). Her book, Earthquakes, Mudslides, Fires and Riots: California and Graphic Design 1936–1986, received global recognition. Her next book, A Colorful Life: Gere Kavanaugh, will be published by Princeton Architectural Press in 2019. Louise’s work is part of the permanent collections of SFMOMA and the Bibliothèque nationale de France, Paris. She is a former AIGA national board member and an AIGA LA fellow.
Christopher Slye first worked as an independent type designer and developer producing the text family Elmhurst for Font Bureau and consulting for companies such as Monotype and MvB Design. He joined Adobe’s typographic staff in 1997, where he first helped to expand the design and functionality of Adobe Originals typefaces. Later, he guided Adobe’s type-related technology and initiatives, contributed to the development of open web font standards, and managed all aspects of Adobe’s type licensing programs. Today, he is Business Manager for Adobe Type.
High-fidelity digitization is core to our mission. While there is no substitute for holding a rare book or designer’s sketch in your own hands, we want to offer the Letterform Archive experience to those who can’t visit in person. High resolution photography preserves the collection for posterity, and makes it shareable worldwide through Archive publications, social media, and — in the near future — a comprehensive online archive. See a preview.
We developed our photography standards in consultation with E.M. Ginger of 42-Line, a leader in the digital imaging of rare books and artwork. With raking light, sensitive staging, premium camera equipment, and very high resolution files, we can produce imagery that is as lifelike as possible. Our goal is to capture every paper texture, artist correction, and metal type impression, so each item is documented in its essential form — not as a flat image, but as an object with a story.
“The collection as a whole interrogates design in writing, both man- and machine-made. A 19th-century Korean family tree in Kanji script on yellowed parchment lives next to a 1960s concert handbill with drippy psychedelic font. Man Ray’s scintillating book of poetry and nudes, Facile, sits adjacent to a Victorian children’s penmanship primer.”
“Extraordinary hospitality—ingenious attentiveness to your aesthetic fulfillment—is a hallmark of the Archive. Technically, we are visitors, but we are treated like guests.”
“My discovery of the day was the Vienna Secession’s 1903 Ver Sacrum calendar. I had only seen the November spread reproduced in a book and wasn’t aware that the entire issue is actually a calendar. It’s like [curator Rob] Saunders said, ‘One of the best things about having access to originals is that you realize how great they are all the way through.’ … It’s important to Saunders that the collection is organized in a design-centric manner that’s easy to access and allows for browsing and discovery.”
“From style guides for Coca-Cola, book design in the 16th century, or the hand-written origins of some of the world’s most famed fonts, the Archive collects, preserves, and tells the story of the importance and fascination with letters.”
“The Archive captures not only the beauty of type, but also the cultural significance.”
“It was great to see the progression from manuscript and hand lettering to type, paste-up to print.”
“Letterform Archive is a library, storehouse, salon, repository, studio, shrine, and sanctuary. Holy moley, this place left me speechless.”
“I’ve always been impressed by the depth and quality of what you have there. … You’ve created, and continue to build, something unique and extremely valuable.”
“The Ali Baba Cavern of Type Design. For my research, having a direct, welcoming contact with the team is of tremendous help to pinpoint a resource.”
“Almost as a kind of joke, I asked if the Archive had Bodoni’s Manuale Tipografico. And they did. I paged through it at my leisure, and it was an intoxicating experience.”
1001 Mariposa Street #307
San Francisco, CA 94107, USA
+1 415 802 7485
See Visit for information about visiting the Archive.
All photographs and text on this site are original. You are welcome to share images for non-commercial purposes, provided you credit Letterform Archive and link to letterformarchive.org. Any copyright in the works represented remains with the copyright owner(s).