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. 30—The Architect and the Industrial Arts

Entrance to The Architect and the Industrial Arts exhibition at The Metropolitan Museum of Art (1929). Design by Joseph Urban. Note the poster by W.A. Dwiggins at right. Image source: Digital Collections, The Metropolitan Museum of Art.
Richard F. Bach (1887–1968) organized fifteen annual exhibitions of contemporary industrial art at the Metropolitan Museum of Art between 1917 and 1940. [1] With them he attempted to promote good design and good taste in manufactured goods. The annuals displayed examples of good design …
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Blue Pencil

The Definitive Dwiggins no. 32—The Architect and the Industrial Arts, continued

There are eighteen stencil ornaments in total by W.A. Dwiggins in the exhibition catalogue for The Architect and the Industrial Arts. [1] However, only eight are original designs. The other ten are either repeats or flopped copies. Six designs are botanical in nature and two are geometrical. All are printed in black, though several have hatched elements to create tone. Printed by letterpress on soft paper, Dwiggins’ original crisp edges have unfortunately been dulled. Here they are, in the order …
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The Definitive Dwiggins no. 105—Addendum to W.A. Dwiggins’ Ancestry, Part III: Moses and Eva Dwiggins

Five artifacts associated with Moses and Eva Dwiggins survive in the W.A. Dwiggins Collections at the Boston Public Library: two programs for theatrical events, one each involving Moses and Eva, their marriage license, a certificate for Moses as a medical examiner for an insurance company, and a book entitled Living Poems. [1] All are of interest beyond their use as documentation of W.A. Dwiggins’ parents’ lives. [2] They are fascinating for their design and typography which is typical of the …
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