ArchivesSpace at the University of Iowa

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This is the wedding invitation of Ruth Sackner's nephew and niece designed by Denni Ann Gershaw. -- Source of annotation: Marvin or Ruth Sackner.

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Prints depict circus images through a combination of typefaced and calligraphic letters and inventions. -- Source of annotation: Marvin or Ruth Sackner.

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This issue consists almost entirely of greeting cards designed by calligraphers. It also carries an obituary of Don Kunz. -- Source of annotation: Marvin or Ruth Sackner.

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This issue is deals with letter carvers on stone with illustrative examples. -- Source of annotation: Marvin or Ruth Sackner.

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Richard Kindersley contributes an essay "Standing Stones" in which he describes ancient stones in the British Isles as well as his own works of ten stones commissioned for the Millennium. Each stone is engraved with a quotation of a famous author of the period. Jordenne Ferrington describes and illustrates the selections from the contest celebrating "The Graceful Envelope." -- Source of annotation: Marvin or Ruth Sackner.

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This issue served as the catalogue for the calligraphic exhibition at the Guilford Handcraft Center in Connecticut entitled "Calligraphic Enigma/Where Magic LInes Meet." Joan Goswell's bio mentions that her work is held by the Sackner Archive. -- Source of annotation: Marvin or Ruth Sackner.

Scope and Contents This well illustrated book was written by Michael Harvey, the major lettering collaborator of Ian Hamilton Finlay. However, no examples of Finlay's work appear in this book.Wikipedia: Michael Harvey MBE (born 1931, died 18 October 2013) was an English lettering artist, teacher and writer specialising in lettering, type design and letter cutting. His work appears in many English cathedrals and on the National Gallery, London.Originally inspired by reading Eric Gill's Autobiography, he worked as Reynolds Stone's assistant between 1955 and 1961. He then became a freelance, producing some 1500 hand-lettered book jackets over the next twenty years for major publishers such as Heinemann, The Bodley Head and Cambridge University Press. As technology changed he developed his interest in type, producing designs for Adobe Systems and The Monotype Corporation and later, with Andy Benedek for his own foundry, Finefonts. His inscriptional work included a long collaboration with Ian Hamilton...

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This is a particularly creative appeal from a deliverer of the New York Times to the mother of Ruth Sackner. -- Source of annotation: Marvin or Ruth Sackner.

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This periodical is one of the most important experimental calligraphic and typographic contributions of the early sixties. -- Source of annotation: Marvin or Ruth Sackner.

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This periodical is one of the most important experimental calligraphic and typographic contributions of the early sixties. -- Source of annotation: Marvin or Ruth Sackner.

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This issue consists of poems in English accompanied by translations in German. -- Source of annotation: Marvin or Ruth Sackner.

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This issue, No.9, as well as No.10, present the most highly experimental calligraphic texts of the ten issues in the run. In several instances, the calligraphers have designed new alphabets for the texts. Translations of English to German texts in this issue was done by Anselm Hollo. -- Source of annotation: Marvin or Ruth Sackner.