Sign for Savoy Taylors Guild Ltd., The Strand, London (c.1906).

Sgraffito on a wall in the Giudecca section of Venice.

Detail of a neon sign for a barbershop in Grottaferrata, Italy.

Detail of page from Les Ecritures Financiere, et Italienne-Bastarde (1647) by Louis Barbedor, a French writing master.

Detail of store sign for Cortese Frizzoti in Venice. The letters in black have been painted over a gold ground which covers a former store name in mosaic tile.

Medieval inscription in Round Gothic capitals. In the cloister of S. Giovanni in Laterano in Rome.

Capital E and G stencils from collection of Eric Kindel, Reading, England.

Ghost signs with printer’s fist on wall of Rue de la Commune in Montreal.

Detail of painted directional sign for Coney Island covering mosaic sign indicating Up Town Trains. 53rd Street station of the R line in Brooklyn.

Punches for punctuation cut by Giambattista Bodoni at the Museo Bodoniano in Parma, Italy.

Detail of cover of Warren’s Standard Printing Papers specimen book by S.D. Warren (1929). Design, ornament and lettering by W.A. Dwiggins.

Blue Pencil

The Definitive Dwiggins no. 42—The Annual of Bookmaking

The Annual of Bookmaking (New York: The Colophon, 1938). Binding design by W.a. Dwiggins.
W.A. Dwiggins was at the zenith of his career in 1938. The American Institute of Graphic Arts (AIGA) had held an exhibition of his work in November 1937, the first time that a living designer had been so honored. Over the course of the previous ten years Dwiggins had completed two typefaces (Metro and Electra) for Mergenthaler Linotype and was in the process of finishing up …
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The Definitive Dwiggins no. 15 Addendum—W.A. Dwiggins, Harry L. Gage and Lucian Bernhard on Modernism

As Dwiggins was writing Layout in Advertising the debate over modernist design in the United States was heating up. It was sparked not by the Bauhaus in Germany or the emergence of die neue typographie there and in Eastern Europe, but by the Exposition International des Arts Decoratifs et Industriels held in Paris from April 28 to November 30, 1925. The exposition has given us the phrase Art Deco. [1] But at the time the graphic art associated with …
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The Definitive Dwiggins no. 15—The Origins of Metro

With the release of Metro Nova by Toshi Omagari in 2013, there has been renewed interest in Metro by W.A. Dwiggins. And with that renewed interest has come misinformation.
Fonts.com has a brief history of Metro’s origins that manages to garble the facts, most of which are well-known. Here is their text:
One day in the late 1920s, C. H. Griffiths, who was responsible for typographic development at Mergenthaler Linotype at the time, read a magazine article bemoaning the lack …
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