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William Morris, The Nature of Gothic: A Chapter of the Stones of Venice by John Rushkin, 1892 pic.twitter.com/oHl4kej5a0

Shelia Waters, contemporary illuminated manuscript of Under Milk Wood: A Play for Voices by Dylan Thomas, 1989 pic.twitter.com/aXtcpi3tkU

Warren Lehrer's French Fries, 1984, a play set in a diner that incorporates 21 different typefaces! pic.twitter.com/LrTph3VqMN

wood type print from Bay Area luminary Jack Stauffacher pic.twitter.com/YdlCwsabyG

Henry R. Moeller, Ramona, Schriftguss KG, 1939 pic.twitter.com/6ZpTsSuvIf

Alex Steinweiss, Album cover, 1950 pic.twitter.com/bu4KFXBXSR

Der Große Wagen, 1933 pic.twitter.com/jwQhyX4vLz

Ornamental Typefaces, Handbook of Early Advertising Art, 3rd Edition, 1956 pic.twitter.com/JdtXcnmrNq

Georges Lepape, Vanity Fair, 1930 pic.twitter.com/gUkuF53Pd8

SEA, Out of the shadows, Monotype, 2013 pic.twitter.com/UFxQZ5oKc6

Bart van der Leck, Het Vlas by H.C. Andersen, 1942 pic.twitter.com/HiqAykM5Vx

Rob Roy Kelly, Design Quarterly 56, 1963 pic.twitter.com/KkXWhiDyY5

Champion Papers Corporate Communication, No. 2, 1974 pic.twitter.com/nkWY6QrmCW

Max Bill, Pagina, Milan, 1964 pic.twitter.com/hNu9d3J9on

David Klein, poster for The Glass Menagerie by Tennessee Williams, New York, 1958 pic.twitter.com/lRFfp1oA1v

Donald Deskey, Official Souvenir Book, New York World's Fair, 1939 pic.twitter.com/xrEUXGYoGW

Takenobu Igarashi, Igarashi Alphabets, Zurich, 1987 pic.twitter.com/cep5ZfQwhf

Lettering for Architects and Designers by Milner Gray and Ronald Armstrong, London, 1962 pic.twitter.com/CkYe3QiMTn

F. H. E. Schneidler, Kontrast, C. E. Weber, 1930 pic.twitter.com/BrAHs8ZYWy

Ken Komai, Visible Language, Vol. 8, No. 4, 1974 pic.twitter.com/C6C1ynjGO9

Herb Lubalin, Come Home to Jazz by Percy Seitlin, New York, 1960 (reprint) pic.twitter.com/FSNd7ALmn6

Gianni Bertini, Mec, No. 2, Milan, 1971 pic.twitter.com/tZCoyShEhN

Eugen Gomringer, Worte Sind Schatten (Words Are Shadows), 1969 pic.twitter.com/X3YTIRCT0B

Mistral, Amsterdam Type Foundry, 1967. Mistral typeface by Roger Excoffon, 1953 #LfATypeEphemera pic.twitter.com/F1Tsq02i7P

Ross George, mock-up for Gothic Blocks, c. 1941 pic.twitter.com/m6vdsQ44Ea

Max Miedinger & Eduard Hoffman, Helvetica, Stempel/Linotype #LfATypeEphemera pic.twitter.com/PDbS5r5hx9

Happy birthday, Piet Zwart! Piet Zwart, Delft Kabels, 1933 #LfABirthday pic.twitter.com/j2RihuV4SL

Wolfgang Weingart, 1974: Collage 6A, Basel, 1974 pic.twitter.com/TDwkfGItPA

Artist unknown, advertisement in Graphik, No. 11, 1959 pic.twitter.com/3XMLtmwpj0

The Nestlé Universal Logotype, 1973 #LfAIdentityManual pic.twitter.com/ilObjEbPwd

A.M. Cassandre, Bifur, Deberny et Peignot, 1929 #LfATypeEphemera pic.twitter.com/9Q2REyNFAJ

Wim Crouwel, Sound Texts ? Concrete Poetry Visual Texts, Amsterdam, 1971 #ConcretePoetry pic.twitter.com/qIGYN9yTrG

Happy birthday, Abram Games! Travel to Israel-Land of the Bible, c. 1953 #LfAbirthday pic.twitter.com/hhqLOLViL2

Imprimérie en Caractères. The plates depict every aspect of the art and craft of printing in the late 18th century. pic.twitter.com/yHY8YwdU9N

“Lectura sub aqua”, Willem Sandberg, 1979. Originally published as the first Experimenta Typografica in 1944. pic.twitter.com/YOEGhe3di4

The bubbly Bernhard Brushscript by Lucian Bernhard, published by Bauer Type Foundry in 1923. #a2zspecimens pic.twitter.com/yzpH1Kg9fd

Joseph Fry & Sons, A Specimen of Printing Types, London, 1785. pic.twitter.com/cHlopdMOA0

A manuscript from an unknown German writing-master, with 26 examples of calligraphy, 1750. pic.twitter.com/DTtdPOwrhP

Joseph Binder, Colour in Advertising, 1934, plates of posters designed by M.E. Angerer and Michel Bouchard here pic.twitter.com/Mi0mSO4LjH

A couple spreads from Piet Zwart's legendary 1928 NKF cable catalog design pic.twitter.com/imGe9mCHPy

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