Thanks to you, our new space is taking shape. Here’s a peek at what we’re building together.
The new Letterform Archive reading room under construction.
In July, we announced the surprising — but ultimately opportune — news that Letterform Archive needs a new home. We asked for your help, and you delivered. Over 300 donors from at least 15 countries supported our move campaign. With matching pledges from Emigre and an anonymous donor, we crossed the midway mark of our $200,000 goal.
After over four years as our librarian, Amelia Grounds is turning the page for a new role at UC Berkeley’s Bancroft Library. Here are a few of her proudest accomplishments and favorite things from the Archive.
There may be no task more daunting than designing a book about a designer — especially when that designer was your friend of 30 years. That was the case with Chuck Byrne, who wrote and designed our book on the work of Jack Stauffacher.
For the printer and designer whose wood type prints are the subject of Only on Saturday, crafting a perfect page meant getting a feel for the written word, its history — and what it means to be human.
Text from Vico’s The New Science, handset in 7-point Kis-Janson type by Jack Stauffacher. Photo (detail) by Dennis Letbetter, Vico photographs portfolio, 2003.
The Online Archive continues to grow. The latest additions include hand-painted advertising comps and type specimens old and new. Become a member to get access now, while the site is in beta.
Mila Kavalla, gouache maquettes for Pez, Steiner Seide, and the 24th Venice Biennale, 1948–50.
Jack Stauffacher, Process work (detail) for The Rebel Albert Camus portfolio, 1969. Collection of Letterform Archive.Only on Saturday. Hardcover, 10 x 14 inches, 208 pages. Regular: Scuff-free velvet-touch matte laminate case wrapped with a jacket. Deluxe: Hardcover with a portfolio of 10 facsimile reproductions and 10 impressions made with Stauffacher’s own wood type, bound and slipcased in dark green silk.Reserve your copy
Long before Jack Stauffacher picked up a piece of wood type and used it to create one of his remarkable typographic abstractions, the printer and designer had collected lessons in his craft from across time — and from across the globe. Read on to learn about just a few of the many influences that informed his wood type work, which is the subject of our third book, Only on Saturday: The Wood Type Prints of Jack Stauffacher, now live on Kickstarter.
Early Experiments in Printing
At an early age, Jack Stauffacher was practically anointed as a printer. Paging through an issue of Popular Mechanics when he was fourteen, his eye fell on a mail-order advertisement for a 3-by-5-inch letterpress, and his curiosity was permanently piqued. By the time he graduated from high school, he and his father had built a modest studio in the backyard of their home in San Mateo, California, and the tiny mail-order press had given way to a more stately Chandler & Price model. Named the Greenwood Press after the street adjacent to their home, young Stauffacher’s enterprise began to take on small commercial jobs.
For over 50 years, Stauffacher lived a singular life at the heart of San Francisco’s creative community. Now, his legacy lives on at the Archive, and his wood type prints are the subject of our third book.
Jack Stauffacher in his studio, Greenwood Press, at 300 Broadway in San Francisco. Photo: Dennis Letbetter, 1991.
Some rooms convey history all by themselves. They tell stories about the people who live in them before those occupants even utter a word. Jack Stauffacher’s studio in San Francisco was such a place.
A rare set of Japanese trade publications serves a visual feast of modern graphics and lettering, as well as a study of early-20th-century interactions between Japan and the West.
The early 20th century in Japan witnessed a collision of emerging and residual forces. Tensions between past, present, and future shaped typography, lettering, and other areas of design. Leading up to the Shōwa period (1926–89), as a result of the nation’s modernization and growth of commerce, businesses recognized the value of advertising to consumers in a visually appealing way.
The budding interest in creative advertising and the rise of commercial retail led to a 1920s–30s boom in design trade publishing to satisfy the growing demand for rich reference materials. In 1926, Hamada Masuji (濱田 増治) and a group of colleagues, including Sugiura Hisui, Watanabe Soshu, Nakada Sadanouke, and Miyashita Takao formed the Association of Commercial Artists. Together, with Hamada serving as the Editor-in-Chief, they published The Complete Commercial Artist, a 24-volume collection of trade publications on commercial design.
Jakob Erbar’s least known typeface went silent in World War II. David Jonathan Ross used a specimen at the Archive to bring it back to life.
One look at the web or our phones these days and it’s obvious that a certain style of typeface dominates contemporary design: the geometric sans serif. It feels like nearly every company, from tech startup to multinational corporation, is finding safety and clarity in the genre’s circular rounds, sharp corners, and clean finish. Meanwhile, there’s also a growing hunger for things that are handmade and handwritten, authentic and imperfect. These universal desires for mechanical order and human warmth are pulling in opposite directions.
Lautsprecher (German for “loudspeaker”) is a virtually unknown metal typeface from 1931 that somehow hits tones both geometric and calligraphic, right at a time when we’re tuned into those very frequencies.
Dozens of title treatment sketches by the renowned lettering artist and designer have found a home at the Archive.
Process material for Moana, 2011.
There are designers who choose to master their craft for a specific industry. And then there are designers, like Michael Doret, who refuse to stay in one lane. Doret brings his lettering talent to a range of clients: designing logos for sports teams, fast food chains, titles for comic books, children’s animations, drama movies, and typefaces. He sees each project as a unique design challenge: embracing the differences and running with them to come up with the most exciting solution possible. To put it simply, nothing is out of Doret’s reach. In 2018, Doret donated half of his working archive to Letterform Archive and the other half to the Herb Lubalin Center in New York. We are honored that Doret’s final proofs for early movies, as well as developmental sketches and inked comps for Disney and Pixar animated features, have found a home in our growing collection of processmaterial.
We urgently need a new home. Luckily, we found the one we always imagined. Now you can make it a reality.
A few months ago our landlord informed us that they wanted Letterform Archive out of the building.
The shock of this news soon faded as we recognized the drawbacks of our current location. In so many ways, we are near or beyond capacity.
When we imagine the Archive of the future, we imagine a place worthy of the history we hold. We see a purpose-built, contiguous space for classes, tours, collections, and staff. We dream of a larger venue for events, where more of our community can gather. We picture a dedicated gallery for exhibits. We long for accessibility to public transit. Most of all, we need room to grow.
When we imagine the Archive of the future we picture something like this:
For the second year in a row, we’re collaborating with Astro Studios on a San Francisco Design Week exhibition. This time, we’re taking you back to the 1990s.
WIRED magazine, premiere issue, 1993. The front of book includes a quote from Marshall McCluhan’s The Medium is the Massage (1964).
The Archive is excited to partner up with Astro Studios for our second SF Design Week exhibition on Thursday, June 27. Digital Revolution: Designing in the ’90s explores the impact of technologies on design created in this transformative period — the decade when Astro Studios got their start. To celebrate Design Week and Astro’s 25th anniversary, we’re doing a special collaboration, featuring some of Astro’s most notable projects from their early years alongside posters, type specimens, magazines, and ephemera from the Archive’s collection.
The diagrams, illustrations, models, and methods used to teach people how to make letters can be as engaging as the resulting letters themselves.
Lettering artists play with our instructional diagram cubes at LetterWest on June 7, 2019. Photo by Matt McDowell of So Mighty.
Earlier this month we participated in the LetterWest Conference with a mini exhibition using hi-fi captures from objects in our collection. Historical instructional material can be found throughout the Archive, from the regal copybooks of Baroque writing masters, to informal lettering manuals for mid-century modern advertising. Here are a few highlights spanning the last three centuries.
Hundreds of items from Rand’s archive, including process material and personal copies of his work, encapsulate a radiant career.
Sketches and final cover for The American Democrat, Vintage Books, 1956.
When visitors make requests for Letterform Archive tours and research visits, we hear one name more than any other: Paul Rand. We’ve always had a few special things to show them: brand guides for IBM and NeXT, packaging for Selectric font elements and Producto cigars, and some key poster and book designs. The latest addition, however, brings us a significant collection from his own archive, giving visitors unprecedented access to his work.
Dating back to 1985, specimens of Ahn’s digital type represent the origins of exploration and play found in Hangul design today.
Specimens covers for Ahnsangsoo, Leesang, Mano, and Myrrh, AG Typography Institiute.
Ahn Sang Soo is often recognized as the father of contemporary Korean type design, and for good reason. His first typeface designed in 1985 broke the molds of Hangul’s traditional design and paved a path of experimentation for the young script. An alumnus and now a professor and Head of the Graphic Design department of Seoul Hongik University, he’s made major typographic contributions in both design and discourse. In 2012, he founded the Paju Typography Institute (PaTI), an alternative design school, as well as AG Typography Institute, an organization that’s dedicated to not only the design of new typefaces, but research, writing, exhibitions, and book design. He’s also published several design books and translated seminal works on typography by Jan Tschichold and Emil Ruder into Korean. Since AG’s founding, Ahn’s original designs have expanded and new faces have been developed. Throughout his career, his typographic lens has also been applied to print magazines, visual arts, photography, poetry, architecture, and more — altogether representing Ahn’s legacy, and his emphasis on the importance of design, research, and play.
Our survey of avant-garde periodicals continues with two magazines that represent the enduring influence of the Bauhaus through the 20th century.
Detail from the cover of ulm 8/9, 1963.
Two weeks ago, our “Periodicals as Collections” series featured bauhaus magazine, the quarterly journal of the German art school that was founded 100 years ago this month. Today, we will explore two more magazines that together weave a narrative about the enduring influence of the Bauhaus through the 20th century. It is also the story of how a particular Bauhaus student would have a hand in continuing the school’s legacy.
Our survey of avant-garde periodicals continues with a closer look at the Bauhaus’s magazine on the school’s 100th birthday.
Title page from bauhaus, year 2, no. 1, 1928.
The second installment of Letterform Archive’s survey of avant-garde periodicals recognizes an auspicious occasion. This month marks the 100-year anniversary of the founding of the Bauhaus, one of the most significant and influential institutions in 20th-century design history.
The Chicago-based activist’s dynamic album covers of the 1960s expand our sense of design history.
Roscoe Mitchell Sextet album cover (detail), Delmark, 1966. Design by Sylvia Abernathy, photograph by Billy Abernathy.
In late 1960s Chicago, Sylvia Abernathy was all at once a college student, activist, and graphic designer. Having later changed her name to “Laini”, Abernathy is best known for working on the Wall of Respect, a community mural in the South Side on 43rd and Hayward Streets. The effort was collaborative, a creative orchestration by the Visual Arts Workshop arm of the Organization of Black American Culture (OBAC). During these years, Abernathy was also designing album covers for jazz musicians under Delmark Records. Four of Abernathy’s albums live at the Archive and hold a special place in our collection. They represent a part of her work that has yet to be researched extensively, and they demonstrate a way of combining type, image, and color that sets her apart from her contemporaries.
A magazine is a microcosm of collecting and curating. Our new series explores the connections within and between our collection of avant-garde periodicals.
An overview and sneak peek of more periodicals that will be explored in the future.
We’re building a virtual discovery machine for letter lovers. Meet the designers who put you in the driver’s seat.
Designers and Archive staff discuss features, prototypes, and user flows during the development of the Online Archive.
The Online Archive beta is running and members are taking it for a test drive. Meanwhile, we’re taking a peek under the hood and introducing you to the people who built it.
Experience Letterform Archive from anywhere in the world.
When guests visit the Archive our goal is to inspire them through radical access to our collection of graphic design and typography artifacts. The aim is to encourage discovery through visual exploration. Now we’re making that experience available to everyone everywhere with the new Online Archive. Charter members will receive exclusive access to the beta before we officially go live in 2019.
Philip Grushkin, book jacket (detail) for The Generous Heart, 1954
You are the heart of Letterform Archive.
Whether you follow us on Instagram, volunteer every week in the stacks, joined us for a tour or research visit, donated $10 or donated your own work — you make the Archive possible.
We welcome two design icons with the experience and vision to help shape Letterform Archive’s future.
We are pleased and humbled to announce two new members of our Board of Directors. Beyond their impactful professional resumes, Susan Kare and Louise Sandhaus exemplify the range of background and engagement with the design community that will help guide the Archive in our pivotal early years.
From Tokyo, an annual carnival of numerals in every form imaginable — and many forms never before imagined.
Tézzo Suzuki, Calendar 19, published in 2018.
Every year, since 2012, Tézzo Suzuki makes a calendar. It’s a personal project, an opportunity to work without clients. It’s also a chance to “pursue new graphical vocabulary”. With each year he dreams up new ways to render numbers one through 31, each limited only by color (one) and canvas (square). Suzuki graciously donated the 2018 and 2019 editions of the calendar to the Archive, and Calendar 19 just arrived.
The San Francisco duo demonstrate the impact of the designer’s voice in politics and graphic design.
Mark Fox / BlackDog, Patriotism, screen print, 2002. This work responds to George W. Bush’s suggestion in the aftermath of 9/11 that patriotic Americans should go shopping.
Mark Fox and Angie Wang do not shy away from deploying design as critique. Together they are Design is Play, a studio practice formed in 2008 recognized for award-winning branding and identity work in addition to political graphics. They are educators of design and typography at California College of the Arts, as well as advocates of issues they care about. Fox and Wang’s collection at the Archive is worthy of attention — for both its aesthetic merit and its cultural relevance in our current political moment. Many have debated the designer’s role in politics, and Fox and Wang set an example of how design can pull back the curtain to describe how the world is, or even imagine how it could be.
The San Francisco designer reminds us about the beauty of not knowing how things will turn out.
Original artwork (detail) and poster (detail) for Weird America, 2016. Full images in gallery below.
On paper, Martin Venezky is an artist, designer, photographer, and educator. He is also a collector, and some might even consider him a sort of curator. He often plays these roles all at the same time, whether he’s working on a project or not. In both his life and in his practice, he tells stories by combining and recontextualizing images and objects found in the world to create new worlds. His process reveals a lot about his own story too — one of imperfection, surprise, and patience.
“To design a poster and do the whole thing digitally? That gets boring. You’re just sitting there hitting keys, but you kinda wanna get in and see the scale of it.”
A large collection of objects by an under-appreciated Dutch modernist demonstrates the branding power of lettering and color.
Our holdings of packaging design recently got a significant boost with the addition of several hundred objects created by Jacob (commonly signed “Jac.”) Jongert in the 1920s and ’30s for Van Nelle, a Rotterdam-based manufacturer of coffee, tea, and tobacco. The extensive and varied collection includes labels, boxes, tins, in-store displays, posters, advertising, and other collateral, like pocket notebooks and calendars.
If the “Father of Semantography” had his way with written language, we’d all be #blissed.
Books from the reference library of Aaron Marcus and Associates: Blissymbols for Use, Barbara Hehner, Blissymbols Communication Institute, Ontario, 1980. Design: Jack Steiner. Illustrations: Alan Daniel. Symbol Drawings: Jim Grice.
The Book to the Film ‘Mr. Symbol Man', Charles K. Bliss with contributions by Shirley McNaughton, Semantography-Blissymbolics Publications, 1975.
Now at Letterform Archive, a landmark of 15th-century bookmaking.
We are thrilled to announce the acquisition of our first complete incunable (book printed before 1501). The Nuremberg Chronicle is one of the most densely illustrated and technically advanced incunables, and helps us tell the story of letterforms in the early years of printing.
Index half-title page, Nuremberg Chronicle. The calligraphic woodcut opening this German edition reads “REgister Des buchs der Croniken…” (Index of the book of Chronicles and stories with figures and images from the dawn of the world until this our time.). Note the ligatures with shared stems (‘de’) and marks that distinguish ‘u’ from ‘n’ (“pildnus-sen”) and indicate a double ‘n’ (“unnsere”).
For most of Letterform Archive’s existence, one woman has been behind our camera, capturing and sharing the collection for publications, research requests, and social media.
Camille Brown with one of her favorite parts of the collection, 1975 issues of Typographische Monatsblätter, with covers by Heinrich Fleischhacker.
Camille Brown joined the Archive in May 2016 as an intern, and soon took a place on staff as Photographer. Her deft shooting and post-processing skills made large and demanding projects – like the Dwiggins book – possible. And her keen and curious eye set the standard for our social feeds, attracting tens of thousands followers on Facebook, Twitter, and especially Instagram. Now we bid Camille a tearful farewell as she leaves us for her next life chapter in New York.
An enigmatic portfolio of fantastical lettering styles continues to fascinate designers and historians. Our guest author Dan Reynolds highlights a few favorite plates.
From left to right, letters from the Spécimen des écritures modernes… portfolio: Gothique Composée; Midolline; Alphabet Lapidaire Monstre; Alphabet Diabolique, Emile Simon fils press, France, 1835. (All cropped, see full images below.)
The globe-trotting, mind-bending books of Francis Van Maele and Antic-Ham consistently inspire vocal reactions from our visitors.
Berlin, photographs taken by Franticham in Berlin in November 2014, screenprinted at Redfoxpress studios, Ireland, 2015.
Artists’ books, simply put, are works of art created in the form of a book. Letterform Archive shows work from our artists’ book collection in every tour we lead. We like to think of each as a complete thought — a thoroughly considered work from start to finish. The materials used to create the book and how the reader interacts with it are equally as important as the images or text the reader sees.
We’re delighted to have several works by Redfoxpress in our artists’ book collection. Originally founded in Luxembourg in 2000 by Francis Van Maele, Redfoxpress is now located on Achill Island (Ireland) and has been co-run by duo Francis Van Maele and Antic-Ham — or Franticham — since 2005. They are creators of screen prints, photographs, stationary, zines, and especially artist books. Redfoxpress participates in book fairs all around the world, including the Bay Area’s very own Codex, which is where we first learned of their work in 2013.
Rare type and talent went into the making of the letterpress portfolio for W. A. Dwiggins: A Life in Design.
Using original Dwiggins typefaces for each piece, Mss. by WAD contains eighteen pages of Dwiggins’s writings (some never before published), printed letterpress from Linotype cast metal slugs, and housed in a handsome portfolio featuring a Dwiggins ornament blind-embossed on the front cover. Twenty-two illustrations, hand-lettered titles, and decorated initials (all made from original Dwiggins pen-and-ink artwork in the files of Boston Public Library) accompany the text, reproduced via high-quality copper photoengravings.
Dwiggins’s visual inventiveness was matched by his verbal wit, and he left behind a number of charming stories and playful but potent essays that helped to define the fields of graphic, advertising, and book design. The deluxe edition of Bruce Kennett’s Dwiggins biography includes a portfolio of Dwiggins’s writings, set in his own typefaces made for the Linotype machine. (The standard edition of the book includes high-fidelity reproductions of these pages.)
In his book’s acknowledgments, Bruce thanks “the Metal Squad who produced the letterpress portfolio (which also appears in the book as the Writings section): Michael Babcock, Darrell Hyder, John Kristensen, and Andrew Steeves, all of whom brought not only their experience and skills, but also their respect and admiration for Dwiggins.” As the final proofs of A Life in Design head to the printer, we look back at the efforts from this team of craftsmen and the methods, both analog and digital, which made the portfolio possible.
The Archiving AIGA Medalists exhibit at the AIGA Design Conference in Minneapolis, October 2017. Photo: Frank Aymami Photography, courtesy AIGA.
Our local and global audience is growing steadily, but Letterform Archive is still a fairly young organization, and this year offered many opportunities to introduce ourselves to new audiences beyond the Bay Area. The last few months were particularly eventful, with a whirlwind of collections projects, hosting visits, planning exhibitions, and sending our team off to represent the Archive and show our collection at conferences all around the world. I had the pleasure of working with our curator, Rob Saunders, on a pop-up exhibit for the 2017 AIGA Conference in Minneapolis.
The deluxe edition of W. A. Dwiggins: A Life in Design with letterpress portfolio, slipcase, and spine foil-stamped in gold.
Bruce Kennett’s biography of W. A. Dwiggins is nearly ready to go to press. A few lucky backers of the project are set to receive the deluxe edition of the book, bound with a leather spine that features gold foil-stamped lettering by master calligrapher, Richard Lipton. This week we talked to Richard about penning the proper spine for Letterform Archive’s first publication.
What’s your relationship to Dwiggins’s work?
Richard Lipton: Like so many graphic designers, calligraphers, and type designers, I had something of a love affair with his multifaceted work. He was a consummate craftsman and there is much to admire in so many aspects surrounding his many interests, accomplishments, and sense of humor.
I came to his work first as a budding calligrapher. I had the opportunity to visit his Hingham studio along with Ed Karr and Jackie Sakwa in the early 1980s and was given a personal guided tour by Dorothy Abbe. I was just fascinated by everything I saw there and heard the admiration in Dorothy’s voice as she described his talent and dedication to everything he touched. There is a warmth and human touch present in all of his work that spoke clearly to the time in which he lived.
Jim Parkinson tells us about reviving Electra for Bruce Kennett’s W. A. Dwiggins biography.
Left: Original drawing for Electra; Right: Jim Parkinson’s pencil sketch on the back of the printed sheet, drawn on a light table to flop the letter before scanning it.Dwiggins made this puppet — Aluminia — in the 1930s just as his Electra type was being released by Linotype. He imagined her as an agile dancer, and built her from cardstock covered with aluminum foil. Dwiggins used these words to describe his Electra type: “Electricity . . . sparks, energy — high-speed steel — metal shavings coming off a lathe — precise, positive . . . take your curves and streamline ‘em.” Jim Parkinson’s new font perfectly captures these qualities, and we’ve decided to name it Aluminia in honor of Dwiggins’s other creation.
Those of you who have followed the progress of Letterform Archive’s first publication, the forthcoming W. A. Dwiggins: A Life in Design, already know that this book will be both a celebration of this prolific author, artist, and designer, and also the culmination of forty years of passionate research and collecting by two of his biggest fans — the book’s author, designer, and chief visionary, Bruce Kennett, and Letterform Archive’s founder, Rob Saunders. At nearly 500 pages and including 1,200 illustrations, the book is a labor of love and has received unstinting attention to the writing, editing, design, and production. In keeping with our ambition to present Dwiggins in a publication worthy of him, Letterform Archive also commissioned Oakland-based type designer Jim Parkinson to create a digital revival of Dwiggins’s Electra typeface that honors the design’s original personality and strength. The resulting fonts — which we have named “Aluminia” after one of the marionettes Dwiggins designed and fabricated in the 1930s — will be used throughout the Dwiggins biography and are now available for purchase.
For backers who have already purchased the fonts, we expect to deliver these along with your license within the next two weeks. Watch your inbox and, if you haven’t yet responded to our survey requesting your delivery address, please do so as soon as possible, or email us directly at publications@letterformarchive.org.
Now that the fonts are finished, we are making steady progress towards sending the book to press and will soon follow this update with additional news and information. In the meantime, we hope you enjoy this recent interview with Jim Parkinson, in which he shares both the challenges and the delights of this intriguing project.
Once threatened by dispersal, over 60,000 letter templates from the British Linotype company now have a home at Letterform Archive.
Drawing for Metroblack ‘e’, ‘n’, ‘r’, at 6 pt., Linotype & Machinery, Manchester, 1934. Metro was originally designed by W. A. Dwiggins in 1929–30. Read more in our upcoming book, W. A. Dwiggins: A Life in Design.
In early April 2017, dozens of boxes arrived at the Archive. Each was packed with hundreds of folders containing thousands of large cards. And on each card, a pencil drawing of a single letter outline, annotated with measurements, character information, dates, and a draftperson’s signature.
Tânia Raposo and Nick Sherman describe how they took on the challenge of representing 40,000 objects in a single visual identity.
Our new logo and website have been live for a few weeks, but now, after the rush of spring events, we finally have a moment to reflect on the redesign and ask its creators about their process.
Paola Zanol, Stephen Coles, and Elise Carlton. Portraits by Laura Serra.
This month the Letterform Archive team grew by three, increasing our capacity to support visits, catalog the collection, and ramp up publishing efforts, in print and online.
On behalf of Bruce Kennett, Rob Saunders, Stephen Coles, and everyone here at Letterform Archive, I would like to thank all 1,059 backers who helped bring the Dwiggins book project to life and ensure Kennett’s remarkable biography will be published.
W. A. Dwiggins, 1941. Photograph by Robert Yarnall Richie.
We are grateful for the outpouring of support, and thrilled to have connected with this worldwide community of Dwiggins fans. If we include the direct, offline orders we received from individuals and institutions who could not use Kickstarter, we surpassed our stretch goal. Therefore, in addition to publishing this book, we are committed to digitizing our entire Dwiggins collection, starting with the rarest materials.
Orders for the deluxe edition have now closed, but in case you or someone you know would like a copy of the standard edition and missed the opportunity to get one on Kickstarter, we have set up a page on Indiegogo InDemand to collect all remaining preorders until we go to press in August. Update: You can now order the book directly from the Letterform Archive shop.
In honor of Earth Day 2017, we bring you this small pamphlet, written and designed by W. A. Dwiggins nearly seventy-five years ago, and published by the Typophiles in 1943. The context for this piece was World War II. Influenced by his Quaker background, Dwiggins created, on more than one occasion, vivid work that advocated for an end to aggression and violence. The message of The Crew of the Ship Earth still resonates today, and it seems appropriate to look again at this tiny pamphlet and appreciate its powerful vision: “… an entirely new mental picture of the world’s population: a picture of all of us together sharing the same needs, the same dangers, the same fate … the same hope … .
W. A. Dwiggins is the subject of our first publication, a comprehensive biography of one of the most innovative designers of the 20th century.
W. A. Dwiggins has a posse. We launched our Kickstarter campaign for A Life in Design on March 27 with the hope of reaching some of his many fans around the world. Here we are, twenty-six days later, and the community has responded in force, manifesting a genuine and widespread interest in the man and his work. While our original fundraising goal represented only a fraction of the actual costs needed to develop and produce this book at a level that does justice to Bruce Kennett’s remarkable biography, we now have received the resources needed to cover our expenses.
As a nonprofit organization, we are committed to using all proceeds to further our mission. Therefore, in response to the phenomenal outpouring of support, we feel compelled to do more. As we head into the last week of the campaign, we’re introducing a stretch goal of $175,000. The additional funds would allow us to digitize the rarest Dwiggins objects in our collection and share them in a public, online gallery of zoomable, downloadable images. While “A Life in Design” includes over 1200 illustrations, it represents only a segment of Letterform Archive’s holdings, which include process work, original sketches, typeface proofs, and other unique material rarely seen outside our doors. A rich web gallery will introduce Dwiggins to designers and makers around the globe. Here’s a sample of what’s possible.
Philip Grushkin, jacket for The Disappearance, Rinehart & Company, New York, 1951. Left: Final jacket. Right: Original artwork.
Philip Grushkin was a tour de force in the publishing world. Before launching his prolific career, Grushkin studied under master book jacket designer George Salter. Working largely during the 1940s–80s, he designed book jackets for publishers like Random House and Alfred A. Knopf. He later became an art director, designing hundreds of books for Abrams Art Books.
Letterform Archive acquired a modest portion of Gruskin’s archives in the fall of 2016, complete with original art and mechanicals for several of his dust jacket designs. The collection is a great source of education and inspiration for both students and researchers. Showing final pieces, while highlighting edits and production notes in the process pieces is an excellent tool for explaining pre-digital printing processes to aspiring graphic designers.
Letterform Archive’s publishing program debuts with W. A. Dwiggins: A Life in Design, a comprehensive illustrated biography of the innovative type designer, illustrator, and lettering artist, William Addison Dwiggins. Written and designed by Bruce Kennett, with a foreword by Steven Heller, this book is essential for anyone interested in graphic design, publishing, and the book arts.
After a successful Kickstarter campaign, the book is now available directly from Letterform Archive.
Jack Stauffacher (who celebrated his 96th birthday in December 2016) has been making books since age 16 — which means 80 years spent practicing and perfecting the interrelated arts of printing, typography, design, and publishing. A 2004 AIGA medalist, the self-taught Stauffacher is one of the most distinguished printers in the United States today.
Last fall, Letterform Archive acquired over 200 of Stauffacher’s wood type prints. These are the product of the printer-typographer’s experiments with the drawers of wood type he inherited at his 300 Broadway studio, located in the North Beach neighborhood of San Francisco.
These wooden letters — many mismatched, not a single complete alphabet among them — provided, simultaneously, a semantic constraint and a material freedom. Stauffacher used the opportunity to create “monoprints,” no two the same. Among his techniques: manipulating the layouts of the letters on the bed of his press between impressions; using solvents and sponges (among other materials) to create unique textural variations and effects with inking; iterating with sub-sets of letters; and inking once, then printing multiple times. The resulting prints offer striking variance in color, shape, texture, and pattern — a particular contrast with Stauffacher’s more traditional editioned productions.
A facsimile edition of these prints is forthcoming from Letterform Archive.
Update: September 18, 2019 —We just announced a major acquisition of material designed and collected by Stauffacher, along with our upcoming book about his wood type prints, Only on Saturday.
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Piet Zwart, Brochure for Nijgh and van Ditmar, 1931
Dutch designer Piet Zwart (1885-1977) was trained as an architect, but is best known as a pioneer of twentieth century experimental typography and photomontage. He preferred to call himself a “form engineer” because he was such a strong believer in functionality, standardization and machine production. The master set from Zwart’s own archive is at the Gemeentemuseum in The Hague.
Letterform Archive’s collection of Piet Zwart was begun thirty years ago, but it has been substantially enhanced by newly acquired material. Starting in 2013 there was a series of five auctions in the Netherlands featuring duplicates from Zwart’s personal archive. We were an active bidder in all five sales.
Our Piet Zwart collection now contains over 120 pieces of rare ephemera. Many are proof copies (printed on one side only) with dates or other notations in his own hand, and almost all have Zwart’s name and address rubber stamped in green on the back.
The items featured in the linked PDF arrived recently from the last of the five auction sales.
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Letterform Archive gratefully acknowledges Aaron Marcus’s recent generous donation of an archive of his work.
Aaron Marcus, Directions for Genesis 1 and 2, 1973 Aaron Marcus, Soft Where, Inc., Vol. 1, 1975
The newly acquired collection encompasses a broad swath of Marcus’s works and interests, ranging from art and design to physics and computer science. Through his experimental design works and creative explorations, Marcus challenges both our notion of what letters are and how they are constructed. His explorations — through both hand work and computer code — prefigure a computer-assisted approach to creative expression that is widely utilized by artists and designers today.
Thanks to a generous gift from Professor Dennis Y. Ichiyama, Letterform Archive is excited to add nearly 200 identity manuals to our collection.
Dennis Ichiyama is a designer and professor of visual communication design at Purdue University. As a student, he studied under Paul Rand at Yale, learning the importance of creating within limitations — a philosophy he carried with him into a long career as a designer and educator.
Last August, the Tholenaar collection of type specimens made its way from Amsterdam to San Francisco. Since then, we’ve shared the acquisition with hundreds of letter lovers.
Albert Klijn, sketch for brochure, Venetian blinds.
Letterform Archive recently acquired an archive of material by and about Albert Klijn (1895–1981), a Dutch graphic designer, painter, typographer, bookbinding designer, and illustrator. The collection includes posters, paintings, advertisements, periodicals, seals and stamps, calligraphy, and a large assortment of ephemera and printed matter.
Klijn studied at the Quellinus School in the Netherlands and is known for designing many items for the city of Amsterdam, including various letterheads, logos, coats of arms, and five Town Calendars (1924–1929). He is most famous for designing the logo for the Municipality of Amsterdam Giro, the first cashless payment system in the Netherlands. Klijn worked for the interior designer Theo Nieuwenhuis from 1866–1951 and ran the studio for Advertising Art with his brother Willem Klijn (1892–1961).
In 1923, Klijn designed the cover for issue number forty-one of the highly revered art magazine, Wendingen. The archive includes several process pieces for this magazine cover, including a drawing and several printed proofs.
The abundance of material in the archives of Albert Klijn provides excellent insight into the artist’s multifaceted nature and creative evolution. It is an honor for us at Letterform Archive to preserve and share his history, art, and process with our community.
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Acquisition reflects commitment to providing hands-on access to type foundry’s significant digital archive, collateral material, and ephemera.
Emigre logo on paste-up board, 1983
Letterform Archive has received a major gift from the renowned type foundry and publisher Emigre, Inc. The gift includes rare archival material in various media, such as a complete run of Emigre catalogs, development files for original Emigre typefaces, and audiotapes of unedited interviews with Emigre magazine designers and contributors that offer an oral history of the design community, as well as printed sheets, posters, ephemera, and paste-ups.
Mockup for Round Hand Script sample alphabet, by Ross F. George
Seattle sign painter and showcard writer Ross F. George (1889–1959) was the inventor of the Speedball pen and author of the first 17 editions of the Speedball textbook (now in its centennial edition).
With this post we gratefully acknowledge George’s family’s donation of an archive of his work, containing drawings for original alphabets published in the Speedball textbooks, his pens (including some early prototypes), showcards and other examples of his lettering and drawing, account books, papers, and photos.
George’s Speedball textbooks and pens have aided countless calligraphers and lettering artists over the last 100 years. We’re thrilled that Letterform Archive will now get to share his history, art, and process with many more.
If you are interested in contributing materials to the Archive, please contact us. To receive notifications when our "This Just In" series is updated,
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William George Sutherland, The Sign Writer and Glass Embosser (1898), Plate 1.
We were delighted to get our hands on a copy of William George Sutherland’s The Sign Writer and Glass Embosser, a rare technical manual from the turn of the 20th century. Consisting mainly of decorative alphabets, this book was meant primarily for use in signage, with chapters dedicated to various methods of decorating on glass including gilding, embossing, etching, and enamel painting. The volume includes a portfolio of 32 lithographed prints, 16 in color with occasional gold, by Kleinertz of Manchester.
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The exhibition organized by Letterform Archive in San Francisco brings together handmade letter art from the 15th century to today.
On January 22, 2016 the San Francisco Center for the Book will open an exhibition organized by Letterform Archive in San Francisco that showcases handmade examples of the letter arts made by practitioners from various disciplines, including calligraphers, architects, type designers, and illustrators. By juxtaposing works created across diverse time periods and geographical locations, the exhibition seeks to highlight the tremendous creativity and myriad possibility for the handmade letter arts, while at the same time drawing connections between seemingly disparate works.
The Cooper Union’s Continuing Education Certificate Program offers West Coast courses beginning October 2015.
Type@Cooper and Letterform Archive are partnering to offer a post-graduate certificate program in Typeface Design in the new Type Annex of Letterform Archive. In addition to this rigorous one-year course in typeface design, the newly established Type@Cooper West program also brings public workshops and a public lecture series focusing on lettering, digital typeface design, font production, and typography.