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 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.
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.
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 process material.
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.
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.
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