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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.

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.

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.

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.

Last fall, when we introduced Tables, a tool for creating sets of typographic artifacts from our Online Archive, we asked a few friends, board members, and staff to put the tool to use. The results demonstrate the myriad ways members can use Tables to build collections of inspiration, research, and resources for use in the studio or classroom.

Like many of you sheltering at home, our team is seeing a lot of each other within the now-familiar grid of video chat rectangles. We love getting a peek at everyone’s home office, but we also miss being surrounded by the Archive and its countless bits of inspiration and delight.

So, as an addition to our Cabin F(or)ever kit, we’re pleased to bring you our first batch of background images selected from objects in the Online Archive, each carefully cropped and edited for Zoom. Now you can use our periodical wall to visualize your ideal home library, wallpaper your room with Paul Rand, furnish your apartment with type from Caslon’s 1844 specimen, live inside an issue of Emigre, or do “some blue sky thinking” with Martin Venezky.