Thanks to Schwitters's lifelong patron and friend Katherine Dreier, his work was exhibited regularly in the US from 1920 onwards. In the late 1920s he became a well-known typographer; his best-known work was the catalogue for the Dammerstocksiedlung in Karlsruhe. After the demise of the Der Sturm gallery in 1924 he ran an advertising agency named Merzwerbe, which held the accounts for Pelikan inks and Bahlsen biscuits, amongst others, and became the official typographer for Hanover town council between 1929 and 1934. Many of these designs, as well as test prints and proof sheets, were to crop up in contemporary Merz pictures.See Roger Cardinal and Gwendolen Webster, Kurt Schwitters, Hatje Cantz 2011, p 136-9. In a manner similar to the typographic experimentation by Herbert Bayer at the Bauhaus, and Jan Tschichold's Die neue Typographie, Schwitters experimented with the creation of a new more phonetic alphabet in 1927. Some of his types were cast and used in his work.A digital revival of Schwitters's 1927 Systemschrift typeface called Architype Schwitters was released in 1997. In the late 1920s Schwitters joined the Deutscher Werkbund (German Work Federation).
Thanks to Schwitters's lifelong patron and friend Katherine Dreier, his work was exhibited regularly in the US from 1920 onwards. In the late 1920s he became a well-known typographer; his best-known work was the catalogue for the Dammerstocksiedlung in Karlsruhe. After the demise of the Der Sturm gallery in 1924 he ran an advertising agency named Merzwerbe, which held the accounts for Pelikan inks and Bahlsen biscuits, amongst others, and became the official typographer for Hanover town council between 1929 and 1934. Many of these designs, as well as test prints and proof sheets, were to crop up in contemporary Merz picturesSee Roger Cardinal and Gwendolen Webster, Kurt Schwitters, Hatje Cantz 2011, p 136-9. In a manner similar to the typographic experimentation by Herbert Bayer at the Bauhaus, and Jan Tschichold's Die neue Typographie, Schwitters experimented with the creation of a new more phonetic alphabet in 1927. Some of his types were cast and used in his work.A digital revival of Schwitters's 1927 Systemschrift typeface called Architype Schwitters was released in 1997. In the late 1920s Schwitters joined the Deutscher Werkbund (German Work Federation).