The Guest Experience Coordinator will be the first point of contact for phone calls, emails, and in-person visitors; handle scheduling and staffing for all introductory tours, research visits, and events; ensure a consistent, high-quality guest experience by maintaining online ticketing platforms and overseeing visit training; and play a vital role in the planning and execution of programming and events for all departments, including Publishing and Education (Type West).
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.
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.
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.
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.
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.
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 process material.
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:
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.
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.
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.
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.
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.
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.
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.
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.
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.
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 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.
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.
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.
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.”
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
Bruce Kennett, author of the upcoming biography W. A. Dwiggins: A Life in Design recently gave two in-depth lectures on Dwiggins’s typeface designs.
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.
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.
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 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.
Update: The Kickstarter campaign was successful and we reached our stretch goal. You can still preorder the book on Indiegogo InDemand.
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 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.
Order your copy now
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.
Download a hi-res sampler of images from the collectionUpdate: 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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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.
Download a hi-res sampler of images from the collectionTo receive notifications when our "This Just In" series is updated, please sign up for our e-newsletter. We send occasional updates on upcoming events, workshops, exhibitions, and more.
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.
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.
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.
— Camille Brown, Intern
Download a hi-res sampler of images from the collectionTo receive notifications when our "This Just In" series is updated, please sign up for our e-newsletter. We send occasional updates on upcoming events, workshops, exhibitions, and more.
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.
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.
Download a hi-res sampler of images from the collectionIf you are interested in contributing materials to the Archive, please contact us. To receive notifications when our "This Just In" series is updated, sign up for our e-newsletter.
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.
View a hi-res sampler of images from the bookTo receive notifications when our "This Just In" series is updated, please sign up for our e-newsletter. We send occasional updates on upcoming events, workshops, exhibitions, and more.
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.
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.