News / Collections

At Letterform Archive we’re always looking for stuff that shows the way a designer thinks, and reveals how their work was made. People visit us not just to see final works on paper — books, ephemera, posters — but also to see all the other artifacts produced along the way to the final piece, including  sketches, proofs, and variations that never made it to print. That’s why we were so thrilled in 2018 to accept a donation from Michael Doret that includes about half of his working archive. (The other half went to the Herb Lubalin Study Center at The Cooper Union in New York where he got his start.)

In the North Indian city of Meerut, not far from the national capital of New Delhi, there was once a thriving wood type manufacturing scene. The industry there continued to operate much later than in other parts of the world, churning out letter blocks until the turn of the millennium, and contributing significantly to letterpress printing in the region and beyond.

Like nearly every professional field, women have been systematically omitted from graphic design history. Fortunately, many recent efforts, such as Alphabettes, Hall of Femmes, and the People’s Graphic Design Archive are pushing to rectify the situation. We’re doing our part by collecting and sharing the work of women, both past and living. Here are some highlights.

The word “text” originated from the Latin word “textus,” which means “a weaving” or “a fabric.” In ancient times, textus referred specifically to the process of weaving fabric. Over time, the meaning of the word expanded to include written or printed material, reflecting the idea of words being woven together to create a coherent written work. This metaphorical extension continues today with words and phrases such as seamless, threadbare, unraveled, looming, frayed, tangled, and spinning a yarn, highlighting the connection between the physical act of weaving fabric and the intellectual act of composing written language, both of which involve the interlacing of individual elements to create a unified whole. In this installment of For Your Reference, we revisit the Archive’s stacks for books and other items that build a tangible connection between threads and letterforms.

Joshua Darden, born 1979 in Los Angeles, California, published his first typeface in 1995 at the age of 15, becoming the first known African-American typeface designer. For the next ten years he honed his skills as an independent type foundry, and then as a staff designer at the renowned Hoefler Type Foundry under the direction of Jonathan Hoefler and Tobias Frere-Jones. He struck out on his own again in 2005, opening a new foundry, Darden Studio, and releasing his most ambitious and recognized design, Freight.

We’re starting 2024 with a selection of objects in the Online Archive that chart Gregorian timekeeping across the twentieth century. This compilation includes traditional calendars, fonts crafted explicitly for typesetting calendars, branded promotional calendars, and material that reveals the process of making a very unusual calendar. We hope these ideas inspire you throughout the year.

In 2023 Letterform Archive hosted dozens of online and onsite events exploring typographic history and contemporary design, and covering a wide range of writing systems and locales, from Arabic to Cherokee, Buenos Aires to Vienna.