Weiner Werkstätte
Zur Feier des Einhunderjährigen Bestandes der K. K. Hof und Staatsdruckerei, Wien: K. K. Hof und Staatsdruckerei, November 1904
Kurt Schwitters
Merz: Banalitäten, no. 4, Hannover: s.n., July 1923
Walter Dexel
Radikal, Jena: H. Boltze und Co., 1924. Brochure
Jan Tschichold
Typographische mitteilungen, Sonderheft elementare Typographie, n.º October 1925, Leipzig: Zeitschrift des Bildungsverbandes der Deutschen Buchdrucker, October 1925 [cover and inside pages]
Walter Dexel
Thüringer Verlagsanstalt und Druckerei GmbH Jena, Jena: Thüringer Verlagsanstalt und Druckerei, 1928. Calender
Paul Renner
Futura 1, Frankfurt: Bauersche Giesserei, n.d. [1927?]
Paul Renner
Futura Black. Die Auszeichnungs Schirift von Paun Renner München, Frankfurt: Bauersche Giesserei, n.d. [1928?] [cover and inside page]
Rudolf Koch
Fette Kabel, Offenbach: Klingspor, n.d. [1928?]
Adolphe M. Cassandre
Words, Paris: Deberny et Peignot, 1930 [cover and inside page]
Eric Gill
An Essay on Typography, London: Sheed & Ward, 1931
Paul Renner
Mechanisierte Grafik. Schrift - Typo - Foto - Film – Farbe, Berlin: Hermann Reckendorf, 1931
Albert Tolmer
Mise en Page. The Theory and Practice of Lay-out, London: The Studio, 1931 [cover and inside page]
Jan Tschichold
Typographische Gestaltung, Basel: Benno Schwabe & Co., 1935 [inside pages]
Stanley Morison
First Principles of Typography, London: Cambridge University Press, 1936
Filippo Tommaso Marinetti; Paolo Saladin
F. Graphicus: Rivista mensile di tecnica ed estetica grafica, 32nd year, no. 5, Rome: s.n., May 1942
Ladislav Sutnar, Knud Lonberg-Holm
Catalog Design: New Patterns in Product Information, New York: Sweet’s Catalog Service, 1944
Paul Schuitema
Untitled [alphabet], n.d. Poster
Paul Schuitema
A, The Hague: s.n., n.d.
Paul Schuitema
Toledo berkel snelwegers, Rotterdam: s.n., n.d.
Piet Zwart
Schift bild mappe, Osterode am Harz: s.n., n.d. [cover and inside pages]
600 works of art and documents.
Technical and industrial advances and new communication needs, in addition to the emergence of new artistic trends at the start of the twentieth century, prompted what Marinetti coined the ‘typographic revolution’ in his manifesto L’immaginazione senza fili e le parole in libertà (1913). Said revolution got underway in search of industrial printing models that responded to the principles of modernity and productivity, whilst aspiring to the simplification of type and the legibility and semantic transparency of symbols. Italian Futurists and Dutch and Russian constructivists influenced the theoretical and practical evolution of the revolution, which found its greatest exponent in the German typographic industry and its designers.
Archivo Lafuente boasts a collection of materials that document this change, including the first editions of the manuals and essays that helped give rise to the transformation that graphic arts were to undergo. The collection, composed of almost 600 pieces, is arranged into two groups. In the first, the emphasis is on type foundries—companies creating and selling new typefaces for the work of typographic designers: Jan Tschichold for Lynotype, Eric Gill for Monotype and Herman Zapf for D. Stempel AG.
Whilst in the second, typographic artists such as Walter Dexel, Paul Schuitema and Piet Zwart are given particular importance due to the impact and quantity of their works—hundreds of publications and documents—found within the Archivo Lafuente collection.
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