Our correspondent Tanya George dives into the Archive’s type specimen collection to explore the many ways typeface designs changed hands in the metal era.
Archives can be intimidating spaces. They’re usually filled with objects and materials that are valuable and relevant to building knowledge but require someone to know what they're looking for and ask the right questions to the right people. So here is a small gateway into the type specimen collection at Letterform Archive. I ask a question — “Why does the same typeface design reappear in specimens from other foundries?” — and try to answer it by using objects found at the Archive and other accessible resources.
Vivian Sming, our new curatorial fellow, pulls on threads within the collection, tying together concepts of weaving and language.
We are proud to announce the Letterform Archive Curatorial Fellowship, a new program designed to strengthen and diversify the collection. Rotating annually, the fellow works with our curatorial team to interpret and share material from the Archive, as well as expand the collection through new acquisitions and connections to artists and designers.
The 2022 fellow is Vivian Sming, an artist-publisher based in the Bay Area, who produces a wide range of artists’ books through their publishing studio Sming Sming Books. Sming’s first contribution to our blog highlights four books that combine weaving and language.
Vanessa Zúñiga Tinizaray refocuses geometric and systematic design principles on a culture far from 20th-century Europe.
This article supplements a Bauhaus Typography at 100 interview
with Vanessa Alexandra Zúñiga Tinizaray.See the interview
Letterform Archive’s current exhibition celebrates, among many things, the centenary of the Bauhaus. Such recognition indicates the significant impact of the school in modern culture. The Bauhaus has become synonymous with minimal and geometric systems of design. This makes it convenient to attribute this school of thought as a source for any graphic work that shares these characteristics, but similar ideas have been around long before the Bauhaus. The Ecuador, the Land of the Shuar poster that is part of the “Beyond the Bauhaus” section of the show is an example of contemporary designers practicing some of the principles associated with the school, and, in this case, principles rooted in a marginalized history.
The school’s main typographic story is not about inventing radical typefaces, but using existing typefaces in a radical way.
Letterform Archive’s inaugural exhibition, Bauhaus Typography at 100, displays nearly 200 objects representing the school’s influence on printed design. From its start in 1919, the Bauhaus incorporated mass production techniques in the creation of artworks across various programs offered on campus, from architecture and product design to textiles and graphics. While the school has come to be known for a simplified, geometric approach across all these disciplines, the exhibition narrates an evolution of letterform styles and illuminates the many people who developed what we now recognize as Bauhaus typography. As a companion to December’s Archive Salon, this two-part article series focuses on the core material that shaped Bauhaus typography: the typefaces.
Original artwork from an Austrian student’s portfolio reveals the process of mid-century fashion advertising and illustration.
Selected spreads from a fashion catalog dummy created by Ludmila Kavalla as a student. (All images on this page are displayed at high resolution. Pinch or zoom to enlarge.)
Ludmila Hellmann-Kavalla, also known as Mila Kavalla, was an Austrian illustrator and graphic designer. Born in Baden, Lower Austria in 1924, she graduated from Vienna Academy of Applied Arts in 1950 where she trained under E. J. Wimmer-Wisgrill in the master class for fashion. While at the training academy, she met her future husband and business partner Roman Hellmann with whom she set up the “Hellmann-Kavalla” design office where she worked until about 1955.
A 1970 rubbing by Father Edward Catich and a 2021 recutting by Paul Herrera bring the classical Roman capitals to life at the Archive.
The letters found at the base of Trajan’s Column, a second-century celebration of the Roman emperor, are widely considered the archetype of Roman capitals. Their shapes and proportions have inspired calligraphy, lettering, and type design for centuries. While we can’t transport the 100-foot, 700-ton marble monument to San Francisco, two recently acquired works offer some of the most true-to-life representations of the inscription.
Based in Düsseldorf, Jens Müller has authored, edited, and published dozens of books on design. The A5 series — under his own Optik Books imprint — offers affordable and beautifully documented snapshots of design history at a digestible length and (you guessed it) A5 size. The 10th volume in this series, Collecting Graphic Design, calls attention to the few institutions and private collectors who concentrate on preserving and sharing objects of graphic design, such as posters, logos, book covers, design manuals, and ephemera.
Reporting from India, Tanya George offers a glimpse into one of the country’s most extensive catalogs of locally produced metal type.
Based in Bombay for most of the twentieth century, the Gujarati Type Foundry was one of India’s leading metal type manufacturers. Tanya George, our new regular correspondent, makes her Letterform Archive News debut with an in-depth look at the Indian scripts shown in the company’s catalog, a highlight of the Tholenaar Collection.
Rediscover Archive gems in a continuing series showcasing our most popular posts from Instagram and Twitter.
Welcome to our second installment of highlights from the Archive’s collection through the lens of social media. Joining our earlier post, these are some of the most loved and shared images from the last year or so.
At least twice a day we share items from the Letterform Archive collection on social media. Connecting with our community on these platforms has always been a big part of what we do, even before the physical library was open to the public. That said, Facebook, Instagram, and Twitter aren’t everyone’s cup of tea, and there are plenty of Archive members, newsletter subscribers, and website visitors who don’t see all that good stuff we post there. Meanwhile, the limited canvas of social media doesn’t always do justice to a rare printed book or detailed piece of calligraphy. With that in mind, here’s the first in an ongoing series showcasing your favorite posts, reprised in expanded form on the blog.
Bring a rare piece of the Archive into your own home or office while supporting our mission: join our first-ever auction on May 12, 2021.
Letterform Archive has one of the world’s best collections of typographic history. We house over 60,000 objects aggregated from various sources and donors with overlapping interests. This often yields multiple copies of a book or print, and there are now hundreds of duplicates to be deaccessioned. Over the last five years we held several small sales, particularly of reference books and type foundry ephemera, but we reserved the rarest gems for a moment when we could offer them all together in a globally accessible auction.
At 4,000 years old, our cuneiform tablet is the collection’s oldest object. Now we know more about the messages it contains.
We like to change things up when setting tables for introductory visits, but most tours begin with an unassuming object that’s by far the Archive’s most ancient. Created in Mesopotamia around the second millennium BCE, our cuneiform tablet looks like a rough lump of hard clay, just big enough to rest in your palm. Closer inspection reveals a surface covered with sharp impressions — marks of what many consider the world’s first full writing system.
From Gutenberg to Granjon, new additions to the Online Archive represent major developments in letterpress printing.
In her recent update, librarian Kate Long mentioned the ways we use the Archive as a teaching tool, especially in our Survey of Type History for the MFA Design program at the California College of the Arts. Now in its third year, the course tells the story of design firsthand through a curated selection of artifacts from our collection. This year, of course, the pandemic is forcing us to meet remotely, which means we’re prioritizing key historical objects for digitization and virtual presentation. The beauty of this pivot is that everyone benefits – even those who aren’t master’s students – because the Online Archive is open to all. As a taste, here are a few recent additions to the site that represent typographic milestones over the first 150 years of letterpress printing.
We miss sharing unexpected gems with you in person at the Archive. In this new series we’ll share them from afar.
A while back, the design publication It’s Nice That invited us to share some of our favorite books for their “Bookshelf” series. It was a nice way to introduce an international audience to a few of the unusual and delightful objects we regularly show in our on-site tours. As we continue to be closed to visitors during the pandemic it’s a good time to reprise that piece, along with more images of the books, and a new selection from Florence Fu, which is not a book at all.
Librarian Kate Long recounts the many ways we use the Emigre collection, and Jon Sueda introduces a new series for experiencing Emigre magazine in the Online Archive.
It takes a long time to do most things well. When I started volunteering at Letterform Archive, the organization had just received its first major donation. Rudy VanderLans and Zuzana Licko of Emigre had gifted their archives containing thousands of objects: books they printed, books they referenced, type development files, type specimens, every issue of Emigre magazine, process work and proofs, and binders holding a few decades’ worth of communication.
New additions to the Online Archive let you reach back to a vibrant period of ornamentation and letterform expression.
As the second industrial revolution hit its stride in the late 1800s and early 1900s, leaps in electrification, manufacturing, and transportation led to rapid changes in Western economies and societies. Advancements in paper making, printing, and typographic technologies followed suit, resulting in cheaper and more plentiful books, new forms of advertising to meet the demands of expanding commerce, and a burst of color and special effects that were previously impossible or too costly to produce. Meanwhile, as populations became vastly more urbanized, artists and printers waxed poetic about country life, incorporating the natural world into their work.
The latest batch of items in the Online Archive represents several dozen highlights from this era in our collection, including work by Will Bradley and Alphonse Mucha, sign painter portfolios from France, early type foundry ephemera, and a remarkable English catalog of wood type.
Our latest update includes items featuring Cyrillic, Hebrew, Indic, Japanese, Pegon, and Persian scripts.
Among the 25 objects just added to the Online Archive are works representing various writing systems beyond Latin. The items are highlights from two events this spring: a master’s seminar in type history that we taught for California College of Arts, and a lecture, “A Brief Typographic Trip Around the World”, hosted by the Center for Book Arts in New York. In a time when a pandemic has hampered most of our summer travel, let our lifelike images take you on a virtual vacation to 18th-century Indonesia, 1920s Tokyo, or India through the ages.
Yiddish work by Kulture-Lige, El Lissitzky, and Natan Altman demonstrates how dreams of a new society revitalized typography.
Judaism and designs of utopia have a long history together. Many Jews have dreamed of a perfect and socially just society, and created art that reflected this desire. Jews played integral roles in the Russian Revolution and in Bolshevik communism, as well as in building intentional communities around the world. Jewish artists expressed their utopian visions in a variety of ways, but many artists such as El Lissitzky and Natan Altman used painting, design, and the abstract shapes of constructivism to illustrate an upheaval of the old social systems and a radical transformation to something new. This coincided with the rise of communism in Eastern Europe, and with talk of protection of ethnic minorities after centuries of pogroms and discrimination.
Our growing collection of posters by the avant-garde Japanese designer are portals to universes never before imagined.
Post-war Japan was a catalyzing backdrop that shaped a generation of artists and designers, including the renowned Tadanori Yokoo (横尾 忠則). Over the span of two decades, the Emperor’s divinity had been absolved, the nation was demilitarized, and US military troops had occupied cities. In 1960, at the age of 24, Yokoo traveled 300 miles from Kobe to Tokyo, to the epicenter of this cultural whirlwind. Tokyo, now home to a rapidly increasing population of over 10 million, was preparing to host the 1964 Summer Olympics while reckoning with violent student protests and riots. There, Yokoo’s practice took root and would earn him a reputation for bridging high and low, pre- and post-modern, and Eastern and Western cultures, and challenging conventions by charging posters with intense emotion. Trailblazing across multiple media, Yokoo responded to absurdities of signs and symbols, tensions between seemingly opposing worlds, and existential questions of the self to offer works that are humorous, chaotic, and deeply autobiographical.
While design is never a panacea for the world’s ills, the work of British designer Abram Games has particular poignance as we face new threats, uncertainty, and disinformation.
Last year we were honored to host a Live at the Archive event with Abram’s daughter, Naomi Games. There’s no better time than now to present a recording of her talk, which focuses on the designer’s unique ability to promote health and safety, raise awareness, and unite people under a common cause.
In the 1950s, Pintori revisualized the typewriter, transforming it from esoteric machine to a charming companion of modern office life.
The lifeless, rectangular slabs of metal we type on these days were preceded by tools with personality. Sculptural, colorful, and often weighty, typewriters were transformative machines that shaped modern industry and communication in the 20th century. The Italian brand Olivetti, founded in 1908, was among the many key players in the market and was unique in the way they saw approachable design as core to their identity. Part of Olivetti’s success is owed to Giovanni Pintori, who was the company’s art director from 1950 to 1967. Pintori’s color palettes, shapely abstraction, and smart use of the grid conveyed both the mechanic power of an Olivetti device and the joyful ease one should feel when using it.
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.
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.
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.
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.
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.
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.
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.
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.
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.
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.
From Tokyo, an annual carnival of numerals in every form imaginable — and many forms never before imagined.
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 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.
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.
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.
The globe-trotting, mind-bending books of Francis Van Maele and Antic-Ham consistently inspire vocal reactions from our visitors.
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.
Once threatened by dispersal, over 60,000 letter templates from the British Linotype company now have a home at Letterform Archive.
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.
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.
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.
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.
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 began thirty years ago, but it was 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.
Letterform Archive gratefully acknowledges Aaron Marcus’s recent donation of an archive of his work.
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.
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.
Acquisition reflects commitment to providing hands-on access to type foundry’s significant digital archive, collateral material, and ephemera.
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.
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.
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.