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Paula Scher—Keynote Presentation

George Barnum

Caption placeholder: poster for Shakespeare in the Park (Paula Scher)

Thur., Nov. 5 | Paula Scher’s name and visual style as a renowned graphic designer may be more familiar to other attendees of the 2020 APHA/Hamilton Wood Type Museum Awayzgoose than they were to me. But her work over the last quarter-century for New York’s Public Theater and Shakespeare in the Park are immediately identifiable with their stark, uncompromising emphasis on typography. As she said, the identity she developed for the Public Theater “became New York.” [Read more]

Panel Discussion—Jim Hamilton, Rob Saunders, Jim Moran, Sandro Berra, Mark Barbour: The Future of the Printing Museum

George Barnum

Clockwise from top left: Sandro Berra, Jim Hamilton, Jim Moran, Rob Saunders, and Mark Barbour.

Sat., Nov. 7 | This distinguished panel discussed the wide variety of approaches to preserving the history and craft of printing. Each panelist gave an introduction to his institution, followed by a discussion led by Jim Hamilton. [Read more]

Panel Discussion: Dox Thrash Preservation Initiative

George Barnum

Dox Thrash House

Fri., Nov. 6 | In their presentation, Maya Thomas, Dana Rice, and Chris Mulford spoke about their effort to preserve the home of Dox Thrash (1893–1965), an African American printmaker, painter, and activist. He was a key figure in the vibrant Black arts community that developed in the Sharswood section of Philadelphia between the World Wars. In addition to his own highly-regarded work, he became known as a mentor for younger artists. [Read more]

Peter Crabbe—State of the Museum

Alison Newman

Overprinting on these stamps from the Weimar Republic reinforce the speed and severity of inflation in Germany. (Peter Crabbe)

Sat. Nov., 7 | On day three of Awayzgoose 12, Jim Moran sat down with Hamilton Wood Type & Printing Museum‘s Executive Director Peter Crabbe to discuss the museum’s future. Peter talked about the path that led to his role at Hamilton, from studying fine arts in Wales to designing exhibits for children’s museums in the United States to being captivated by Two Rivers, Wisconsin.  [Read more]

2021 Mark Samuels Lasner Fellowship in Printing History

The American Printing History Association (APHA) is accepting applications for the 2021 Mark Samuels Lasner Fellowship in Printing History. An award of up to $2,000 is available for research in any area of the history of printing, including all the arts and technologies relevant to printing, the book arts, and letter forms. [Read more]

Erik Spiekermann—Keynote Presentation

Sara T. Sauers

Erik Spiekermann at his Spiekermann’s Precision Table in his P98a Studio in Berlin (Screenshot from his presentation)

Sat., Nov. 7 | Type designer and printer Erik Spiekermann joined us from the entrance of p98a, his letterpress workshop in Berlin, Germany. He’s wearing a neat white lab coat, like that of a German engineer—or, as he deadpans, of a mad scientist—and invites us in for a tour. [Read more]

Jim Moran—The proper care and preparation of printing with vintage wood blocks

Katherine M. Ruffin

Jim Moran printing “Halloween Nights” on a Showcard Press. (Michael Ditmer)

Thur., Nov. 5 | During this 45-minute demonstration, Jim Moran, the Master Printer at the Hamilton Wood Type & Printing Museum, printed the second color on a 26″ × 40″ advertising poster using a 41″ × 60″ proofing press. The blocks for this two-color Halloween poster, featuring lettering and a witch riding a broom, promoted paper hats, favors, and noisemakers are part of the museum’s Enquirer Collection. The first color, orange, had already been printed from the first block, and Jim’s demonstration focused on how to set up and print the second block. Copies of the completed poster will be available to purchase in the museum’s store. [Read more]

Joanne Price—Wood Engraving: Miniature Images with BIG Impact

Christine Style

From a pre-recorded printing demo produced specifically for this workshop. (Joanne Price)

Thurs. Oct. 29–Nov. 4 |  This workshop was well-organized, with the material list sent well in advance and some materials were sent to participants directly from Joanne Price, including one 1″ × 3″ practice and one 2″ × 3″ wood engraving block, a small amount of rubber-based ink wrapped in tin foil, thin print paper, and transfer paper. [Read more]

Catherine Schrenker—Appalachian Letterpress Krankie: The Devil’s 9 Questions

Lisa Dunseth

Letterpress Cranky: The Devil’s 9 Questions. This is a typographic interpretation of the Texas Gladden ballad: “The Devil’s 9 Questions.”

Fri, Nov. 6 | Catherine Schrenker’s irresistibly-titled talk involved “crankies” (or “krankies”)—either way, I was hooked from the start. Her work in the Burke Print Shop at The Wayne C. Henderson School of Appalachian Arts in Marion, Virginia is where she teaches, paints, and prints. It’s what led her to make crankies. [Read more]

Panel Discussion: David Charles Chioffi, Lesley Dill, Bree McMahon, and Cynthia Nourse Thompson—”Experimental Junctures in Typography”

Bryan Bedell

Details from “Through This Lens: Composing The Source” [top] and “UNI Combining Form” [bottom], 2018. A mutually dependent 460-page introductory student project by first-semester graphic design students, developed and led by Chioffi and McMahon, at the School of Art, University of Arkansas.

Sun, Nov. 8 | This Sunday-afternoon panel discussion focused on two student projects involving experimental typography, the role of collaboration in artist books, and the work of the artist Lesley Dill.  [Read more]