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Detail from Café Solo, Series 2 No. 3/4, a collection of visual poetry, 1979. pic.twitter.com/Eokl7vqto3

Fonderie Olive type specimen, France, 1945. pic.twitter.com/W6ZOlPSNIY

Frans de Jong, De Laatste Schreeuw, No. 8, 1996 pic.twitter.com/7ORLAbkrfQ

Milton Glaser, The Devil's Pi, New York, 1972. pic.twitter.com/BNOJzv95rA

Herbert Matter, Swiss tourist catalogs for Compagnia Italiana Turismo, ca. 1930s pic.twitter.com/mSWP77w1bf

American Wood Type Manufacturing Co. catalog, 1958-59 pic.twitter.com/Hv4il43jIE

John Heartfield, Der Sumpf by Upton Sinclar, 1928 pic.twitter.com/hOWD2YJUtY

Ennio Lucini, Pacco, Milan, 1964 pic.twitter.com/9JW0dkjiMv

Willem Sandberg, Experimenta Typographica 11, 1956 pic.twitter.com/sn5JuJvNSb

Artist unknown, Modern Publicity 1937-38, The Studio Magazine, London & New York, 1937-38 pic.twitter.com/cINcjYCTAC

A.M. Cassandre, Bifur, Deberny et Peignot, France, 1929 #LfATypeEphemera pic.twitter.com/t41CARLBmC

Elaine Lustig Cohen, exhibition catalog for Picasso: The Master Works, Kootz Gallery, New York, 1958 pic.twitter.com/cJqqUE5fim

Rudolf Wolf, Garamond, Stempel/Linotype, 1928 #LfATypeEphemera pic.twitter.com/2zsFkDw2Qe

Emigre, logo on paste-up board, 1983 #LfAYearInReview pic.twitter.com/uhMkwNf0sa

Happy birthday, El Lissitzky! Cover design for Vešč, 1922 #LfABirthday pic.twitter.com/Ob7txfMMgw

Apple Computer, Inc., Apple Corporate Identity Guidelines, 1985 #IdentityManual pic.twitter.com/cngBFoCqj9

Calligraphy nibs manual by Heintze & Blanckertz, with examples by Prof. Wilhelm Krause, 1928. pic.twitter.com/m69ypldcik

The Graphic World of Paul Peter Piech ed. Zoe Whitley, 2014 pic.twitter.com/YH524SkCNM

Karl Hermann Schaefer, Blickfang Schmuck specimen, Schriftguss Brüder Butter, Dresden, ca. 1927. pic.twitter.com/Hu9KKxzu3Z

Hermann Zapf, Palatino, D. Stempel, Germany, 1950 pic.twitter.com/9yq5r3miyf

Diagonal Cero No. 23, La Plata, 1967 pic.twitter.com/62ssrde9LV

Wladyslaw Strzemiński, Tre Pionérer For Polsk Avant-Garde (Three Pioneers of Polish Avant-Garde), 1985 pic.twitter.com/2WTeqSOQun

Ross George, Speedball Textbook, 20th Edition, Philadelphia, 1972 pic.twitter.com/zTgz2Jvxk5

Makoto Nakamura, Annual of Advertising Art in Japan, 1969 pic.twitter.com/v6y9wtrlFp

Jan van de Velde, Spieghel der Schrijfkonste, 1605 pic.twitter.com/G7PyQaPt1P

Pierre Boucher, Arts et Métiers Graphiques, No. 58, 1937 pic.twitter.com/QOxRPunR2J

Artist unknown, insert from The Bowater Papers, No. 3, 1954 pic.twitter.com/wrLFz6ovtw

Marshall McLuhan & Quentin Fiore, The Medium is the Massage, 1967 #ConcretePoetry pic.twitter.com/HS1IzgtPvO

Artist unknown, CIBA-GEIGY Corporate Identity Manual, 1973 #LfAIdentityManual pic.twitter.com/S7eIat8Ek4

Aaron Marcus, Letraset on postcards, c. 1970s pic.twitter.com/pCP6SejiaB

William Sutherland, chromolithographic alphabets for sign painters, c. 1898 #LfAYearInReview pic.twitter.com/60vDFGbvG9

Anonymous, Constructivist cover design, 1929-30, #LfANonLatin pic.twitter.com/ztZRVKt63W

Dieter Rot, Bok, Reykjavik, 1959 #ConcretePoetry pic.twitter.com/nrXJkoqCmr

Danne & Blackburn, NASA Graphics Standards Manual, 1976 #IdentityManual pic.twitter.com/LR30DjQW1g

Superior Copper-Mixed Type Pony Specimen Book, Barnhart Bros. & Spindler, Chicago, Illinois, 1893. pic.twitter.com/p9PA8FuC4w

Miguel Pedraza, Rotulacion decorativa, No. 3, Madrid, 1946. pic.twitter.com/Z6WYMzyl6t

Detail from Caslon bound specimen, 1844. See more in the Online Archive: lettarc.org/join pic.twitter.com/FOCqV0bhpz

Tom Carnase, Calendario Gráfico, Ignacio Villarreal, 1976. pic.twitter.com/XpbRgk0M9S

Timm Ulrichs, “Seestück” from Tool/quaderni di scrittura simbiotica 6, Genoa, 1967. pic.twitter.com/pQ6KBoIV3L

Ahnsangsoo rounded, ahn graphics Typography Lab, Seoul, 2014 pic.twitter.com/xXGAzXFJ8K

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