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Gennifer Weisenfeld
The Complete Commercial Artist: Making Modern Design in Japan, 1928–1930
$60.00
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Letterform Archive is a special collections library filled with letters written & drawn by hand.
Unlike fonts and typefaces — static systems where each character has a limited number of representations — calligraphy and lettering are dynamic: each instance of a letter or character is uniquely made to create the overall composition. Using a typeface is like building something out of Lego: all the pieces are designed to fit together, but it’s not possible to change their individual shapes. Meanwhile, hand lettering is more like working with clay: you have to build something up from raw materials, but the end result is more customizable. Either way, you end up with a beautiful structure.
But what is the difference between calligraphy and lettering? To put it simply, calligraphy is written, and lettering is constructed by carving, stitching, painting, drawing, or any other method of hand-making.
With calligraphy, each stroke is produced by a single gesture. Usually made with specialized tools, such as a brush or pointed pen, the weight distribution of the forms is given by some property of the tool (e.g., the size or flexibility of a nib, the stiffness of a brush) and the writer’s technique (e.g., pen angle, writing speed, pressure). With lettering, the forms are built up from marks made by many gestures to create a cohesive design. The tools used can be reflected in the design, but they don’t constrain it because of the difference in technique.
These illustrations from lettering artist and instructor Michael Harvey can help us visualize the difference. On the left, a calligrapher’s hand demonstrates how more pressure splits the tines of a pointed nib to create a heavier line, thus the weight variation of the writing comes from the tool itself. On the right a lettering artist’s hand sketches the stem of a letter in pencil. Because it is drawn, the artist is free to add weight wherever they please.
Now that we’re all on the same page, let this guide to Letterform Archive’s collection inspire you to take up the pen, brush, chisel, or tool of your choosing and make some letters by hand!
Calligraphy: Handwritten letters. Each stroke is made primarily by a single gesture, usually with a pen or brush.
Lettering: Constructed or drawn letters.
Character: The basic unit of written language. Can be a letter, a number, a punctuation mark, or other symbol.
Typeface: the design of a set of characters to represent text in a systematic, reproducible way for print or digital display.
Stroke: a mark made by a writing tool on a surface to form a component of a letter or character.
Weight: The thickness of a stroke. The geometry of a line (or shape) is usually described using the terminology of weight, e.g., “light” or “heavy.”
Header image: Yusuf and Zulaikha manuscript, ca. 1880s.
Check out our guide to fonts and typefaces, and stay tuned for pages about typography (the use of type in graphic design) and other topics. Sign up to our mailing list to get notified.
Hand lettering often inspires typefaces. Type West is a postgraduate certificate program in type design available in-person in San Francisco or online to students worldwide.
Our lectures, salons, and workshops provide deep dives into topics like lettering and calligraphy hosted by skilled practitioners and researchers. Reserve your spot online or catch up with recordings of past events.
The easiest way to learn more about calligraphy and lettering is to become a Letterform Archive member. Join our worldwide community, attend exclusive meetups, and get member discounts.
From spray cans to sewing needles, Letterform Archive collects all manner of letters made by hand. This section features our best writing on calligraphy and lettering, including insights into our own publications, favorite items from the collection, and a walk through of our recent exhibition.
Feast your eyes on beautifully hand lettered ephemera as Angie Wang guides us through the highlights of a recently donated collection of chopstick sleeves.
Hinook-Mahiwi-Kalinaka (Angel DeCora)’s handmade titles bring The Indian’s Book to life. Read Neebinnaukzhik Southall’s analysis of the Ho-Chunk artist’s lettering and the Native arts that inspired them.
Each weekly pass in our vibrant collection of Milwaukee trolley tickets has a unique hand lettered design and color scheme. These are an Archive favorite, and proof that even everyday ephemera can be beautiful!
Peek inside our facsimile edition of Die Fläche, the landmark design magazine of the Viennese Secession, to find dazzling examples of hand lettering from the movement’s leading designers.
Lettering and textiles are woven together in Tanya George’s perceptive survey of the Archive’s collection of embroidery, needlework, and weaving.
Open a window into the designer’s mind: explore process work for title treatments of Disney and Pixar films, all hand drawn by Michael Doret.
Tanya George spotlights the influential designer and teacher R. K. Joshi, who celebrates the history and variety of Indian scripts through his calligraphy skills and paleographic expertise.
A visual feast of original design, this early-20th-century trade publication documents traditional calligraphic forms, as well as emerging lettering trends that defined a modern Japanese graphic identity.
The dynamic design of India’s multilingual movie posters tells the story of the country’s many scripts and cinematic communities. Tanya George takes us behind the scenes of each poster in the collection.
Richard Sheaff’s trove of nineteenth- and twentieth-century ephemera offers colorful examples from an exciting period of letterform innovation.
A remarkable sculptural installation of 26 letters and 10 numbers — each made of cut and folded paper — graces the wall of the Archive.
The "Last Black Calligrapher in San Francisco” combines traditional calligraphic virtuosity with vintage photography to speak to contemporary issues.
Get a glimpse into the insular community of graffiti writers and their innovative lettering through our collection of indie graffiti magazines.
Among our holdings of contemporary calligraphy are three artists who break boundaries between visual art and the written word.
Our collection of sketches, comps, and cut paper from this master designer offer insight into the process behind his striking logo designs.
The diagrams, illustrations, models, and methods used to teach people how to make letters can be as engaging as the resulting letters themselves.
These carved roman capitals have inspired calligraphers and type designers for centuries. Paul Herrera gives them a new shine with his half-size reproduction, now housed at the Archive.
The Archive holds a piece of ancient history: the world’s earliest known writing system impressed into a lump of clay. Chris Westcott dug into the meaning behind our cuneiform tablet.
This section features some of our favorite calligraphy and lettering collections in the Online Archive.
The Archive holds hundreds of writing manuals from the 16th to the 20th century. Part instructional, part show-off pieces, these books are elaborate archetypes of Western calligraphy and engraving. See a sampling of the collection in the Online Archive.
These delightful product labels from the 1920s–’30s are delicately hand painted at actual size. With our high-fidelity images, you can see every brushstroke!
Peruse our collection of work by skillful sign painter Ross George, including hand-drawn paste-ups of lettering models created for the influential Speedball Textbook lettering manual.
We invite you to judge these books by their covers. The work of artists like Georg Salter, Jeanyee Wong, and Philip Grushkin, are the pinnacle of a twentieth-century tradition: the hand-lettered jacket.
We are grateful to hold a vast archive of alphabetic experimentation from Baker, a prolific calligrapher known for his atypical pen-turning method and energetic letterforms.
Browsing the Online Archive is a great way to find hand lettering inspiration. We made this Table with some of our favorite calligraphy and lettering objects to help you get started.
The Online Archive shows the small fraction of our collection that has been digitized, but there’s always more to see in person. These are some notable hand lettered collections that haven’t yet made it online:
Gennifer Weisenfeld
$60.00
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Michael Doret
$60.00
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Diane V. Silverthorne (Contributor), Dan Reynolds (Contributor), Megan Brandow-Faller (Contributor)
$75.00
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Bruce Kennett
$60.00
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Letterform Archive
$25.00
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Letterform Archive
$18.95
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