Category Archives: Typography

Humans Being Human Beings



One folded poster and two postcards in an archival plastic bag. First edition of 1,000. Each copy is individually numbered with a sticker. The poster is 30 x 22.75 inches, offset printed on white 50lb newsprint. The postcards are 7.5 x 5.25 inches, digitally printed on white 120lb cover stock. #beingbeings

You can buy them here !

Everywhen: The Eternal Present in Indigenous Art from Australia


8 x 10.5 inches
228 pages
Typeset in Neutral
Printed on Arctic Volume White in Belgium by Die Keure
Designed with Steven Waldron, Adam Sherkanowski and Becky Hunt
Published by Harvard Art Museums and Yale University Press
ISBN 978-0-300-21470-3

Indigenous concepts of time play a critical role in the works of many contemporary Indigenous Australian artists. Everywhen: The Eternal Present in Indigenous Art from Australia showcases prime examples, featuring many works of art that have never before been exhibited outside Australia. The book provides a cultural framework to help understand these objects, emphasizing the importance of the land, the rich narratives that cleave to it, and the art it inspires. It is organized around four central themes: ancestral transformation, ritualized performance, seasonality, and remembrance. Six essays and sixty works highlight many of the most significant Indigenous Australian artists of the last forty years, from Rover Thomas and Emily Kam Kngwarray (both former representatives at the Venice Biennale) to the visual and performance artist Christian Thompson. Also included are examples of related historical objects and a technical examination of traditional Indigenous bark paintings.

Available in the Harvard Art Museums shop.

Up is Down

Announcement for the October ’15 meeting of The Society of Printers
Bi-fold card, 5.5 x 8.5 inches
Printed by Interrobang Letterpress

A writer, investigator, and iconoclast, Errol Morris is celebrated as one of the most prominent and persuasive filmmakers of his generation. Lauded as “a magician and as great a filmmaker as Hitchcock or Fellini” by Roger Ebert, Morris’ films have received numerous awards including an Oscar, an Emmy, the Grand Jury Prize at Sundance Film Festival, the Silver Bear at Berlin International Film Festival, and the Golden Horse at the Taiwan International Film Festival. He’s written two New York Times bestsellers, been honored with a MoMA retrospective and numerous fellowships from the NEA, Guggenheim, and MacArthur foundations.
 Truth, it’s influences, and our perceptions of it, have served as a thematic thread in Morris’ work. At the Society of Printers on October 7, the persevering examiner of truth, whose tenacity has drawn a U.S. Secretary of State’s confession to war crimes and freed an innocent man from prison, will talk about the credibility of typefaces. Sharing the results of a test he recently conducted with the help of the New York Times to find out whether typefaces have an effect on credulity, Mr. Morris will answer his question: Are there certain typefaces that compel a belief that the sentences they are written in are true?

With thanks to the SP Council: Keith Cross, President, Michele Cloonan, Vice President, Michael J. Babcock, Jr, Treasurer, Joseph R. Moore III, Secretary, Michael Russem, Auditor, Alex Camlin, Susan Glover, Whitney Leader-Picone, George Restrepo; and The Club of Odd Volumes.

Materials Materials


At Harvard Art Museums we recently produced some promotional materials featuring materials found in the museums’ collections. The stickers were made for the Division of Academic and Public Programming. The bags are available in the museums shop. All designed in-house with Creative Director Steven Waldron.



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The Boston Globe recently ran the first print ad announcing the November 16th opening of Harvard Art Museums.

Index 04


Issue 04 of Index is out and 05 is underway.

Index—a magazine for the Harvard Art Museums

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Index is a magazine for the Harvard Art Museums. Each printed issue (three so far) features a different color, determined by the date on which it’s published. Online the color changes every day.




MATERIAL exists as a platform for the artist’s voice. Each issue brings together a different group of artists who write, as well as a new collaboration with a graphic designer. During the production of this third issue, our designer Zak Jensen put forth the idea of concatenation—the act of linking together, or the state of being joined. The cover (Eight Takes Sense—Yes, Hooks a Kitchen House, A Surrealists’ Leash, Visual Oeuvres…) is a concatenated sentence which employs one word from the title of all eleven texts, and also functions as the table of contents for the journal.

Concatenation (c.1600, from L.L. concatenatus, pp. of concatenare “to link together,” from com- “together”+ catenare, from catena “a chain”) seemed an appropriate word for our editorial method. An unlikely assemblage of texts becomes connected through this process; uncanny linkages emerge. Wyeth appears twice. Performances interact. In this issue: voices that duel, voices that parrot, voices that hypothesize, translate, and meditate, voices that speak simultaneously. As Roland Barthes writes, we have assembled these textual events, as “pleasure in pieces; language in pieces; culture in pieces,” to build upon one another into something new.*

This third issue includes contributions from Farrah Karapetian, Paul Zelevansky, Renee Petropoulous, Nate Harrison, James Welling, Natalie Häusler, Harold Abramowitz, Shana Lutker Stephanie Taylor, Alice Könitz, Frank Chang, and Emily Mast.

Get a copy online from MATERIAL, Textfield, Motto Distribution, or at a bookstore near you (if you’re in Amsterdam, Basel, Berlin, Copenhagen, Chicago, Geneva, Lausanne, London, Los Angeles, Malmö, New York, Paris, San Francisco, Seattle or Zurich)!

*Roland Barthes, The Pleasure of the Text, trans. Richard Miller (New York: Hill and Wang, 1975), p. 51