Screen capture from a 1080p Blu-ray

1997’s Dante’s Peak features Pierce Brosnan in full let-me-be-your-stepdad mode, but he’s handling hot stuff much better here than in that Mrs. Doubtfire restaurant. Albertus is used for the opening and ending credits. It’s set tightly everywhere, with the exception of the title, which animates from extremely wide letterspacing to tight spacing, while orange smoke and flames undulate inside the letterforms.

Univers also makes a brief appearance after the cold open, where it’s softened by a black outline and solid drop shadow.

Screen capture from a 1080p Blu-ray

Screen capture from a 1080p Blu-ray

Description of the exhibition by the Center for Craft:

Something earned, Something left behind is a group exhibition concerned with reconciling a history of craft and exclusion of POC narratives and displacement. It centers on artists working with cultural traditions at the forefront of their practice to engage conversations of identity, healing, and reconnection. This show gives reverence to ancestral homelands, hyphenated identity markers, expectations to assimilate, and the pressure to give up parts of oneself in order to fit a new identity.

Few objects in the world are apolitical in their historical affiliations. How have the cultural, political, and economic decidedness of objects impacted their meaning and worth? These works on view investigate and analyze the transactional and political languages of objects.

The introductory exhibition text is printed on chiffon, while the eight-page gallery guide is Risograph-printed in three colors—black, light lime, and mint—by Woolly Press. Color separations for the cover image were made using the Spectrolite app, developed by Amelia Greenhall and Adam Greenhall.

Several diacritics—ư, ơ, à, ầ—were cobbled together manually for the exhibition materials, as they do not exist in the Migra glyph set. There's one instance of the Cherokee language used in the gallery guide’s land acknowledgment, which is set in Galvji. You can see other recommended Cherokee fonts on the Cherokee Nation's official website.

Something earned, Something left behind was curated by Kehayr Brown-Ransaw, a 2023 Curatorial Fellow at the Center for Craft. Exhibition management by Sarah Darro, Lisette Gallaher, and Marilyn Zapf. Installation by Ian Brownlee, Carrie Helmkamp, Lauren Roquemore, and Devyn Vasquez. Edited by Liz Carleton. Exhibition graphic design by Erik Pedersen / History of Salad.

The Sorani Kurdish text uses the Kurdo-Arabic alphabet, a modified Perso-Arabic script, and appears to be set in Simplified Arabic (as included in Arial).

Mavis quickstart guide and assembly instructions (Side A). Two-color offset print on Mohawk Via Vellum (70T). 8.75 × 5.125 inches (folded); 26 × 15 inches (unfolded).

Released in June 2022, Mavis is a build-it-yourself analog synthesizer kit from Moog Music Inc. The identity for this synthesizer is anchored by Cinetype and Haptik—both released by Grilli Type—alongside Gotham and Trade Gothic, two mainstays of Moog’s core branding and product design. Art direction and design by Erik Pedersen and Emory Brandon.

The straight-lines-only design of Cinetype speaks to the collaborative nature of Mavis' design process and the stack of curve-free CAD drawings produced by the engineering team along the way. Haptik's tactile uppercase letters and numbers were chosen to reflect the hands-on process of assembling this synthesizer yourself.

Mavis quickstart guide and assembly instructions (Side B). Two-color offset print on Mohawk Via Vellum (70T). 8.75 × 5.125 inches (folded); 26 × 15 inches (unfolded).

Unboxing animation by Emory Brandon

Mavis Exploration Patchbook

Mavis User’s Manual

Lisa Bella Donna Artist Series Patchbook for Mavis

Sinkholes of Florida is a riso-printed photobook by Charleston, SC-based photographer Kathleen Saunders. Cover design, layout, and binding by Erik Pedersen at Drum Machine Editions. Printed by Colin Sutherland at Woolly Press. Cover, title page, and colophon set exclusively in ITC Ronda by Herb Lubalin (ITC, 1970).

From Drum Machine Editions:

Kathleen Saunders (Charleston, SC) is a photographer who frequently returns to Florida's natural springs. Her work engages both the environmental precarity and history of kitschy tourism surrounding the state's once-pristine aquifers. She has interviewed local historians and retired mermaids and pored over dense water quality studies. In her riso-printed photobook, Sinkholes of Florida, Saunders distills this body of work into a deadpan collection of found images which oscillate between humor and dread.

First printing 19 December 2020. Limited edition of 100. Riso-printed in black and bright red ink on FPC Madero Beach (70#T).

Protection Rituals is a collection of drawings and ekphrastic poems by Wade Tullier (Detroit, Michigan) and Rita Mookerjee (Ames, Iowa).

From Drum Machine Editions:

Tullier’s spare, archetypal assemblages are in constant motion, casting long shadows over Mookerjee’s defiant narrator. Velvet couches, salt lines, late-70s Bowie, and egg-topped ramen provide an indulgent backdrop for the twelve examinations of adolescence, ennui, and loneliness contained in this genre-bending collection.

Cover design, layout, printing, and binding by Erik Pedersen at Drum Machine Editions. Cover and title page set in Sofia Soft by Olivier Gourvat (Mostardesign, 2014). Interiors set in Satyr by Sindre Bremnes (Monokrom, 2012).

First printing 22 May 2020. Limited edition of 100. Riso-printed in black on FPC Lemon Drop (65#C) and Sweet Tooth (70#T). Saddle-stitch binding with hand-marbled endpapers.

From Drum Machine Editions:

Handsome Pants is the ongoing home recorded music project of Chad McGaw, a Pennsylvania native and English teacher by day who relocated to Denver in 2015. Construction Ruins is his 20th album, collecting material recorded in his first Denver apartment. He currently resides in his second Denver apartment.

Construction Ruins (DME-001) was released as cassette in a limited edition of 100 copies, in addition to digital. Tape duplication and pad printing by Analog Media Technologies Inc, Verdun, QC, Canada. Comes packaged in a clear Norelco case with Riso-printed inserts (black and blue on FPC Speckletone Starch White, 80#T) and a fold-out poster with liner notes, measuring 8″×12.5″.

Designed, printed, and assembled by Erik Pedersen at Drum Machine Editions. The album art and liner notes are set exclusively in Forma DJR by David Jonathan Ross. In the first image (the digital album art), “Handsome Pants” was distressed by hand using an X-Acto knife. The DME lettermark is set in Zigzag by Benoît Bodhuin.

Album art for the digital version of Construction Ruins.

Pile of cassettes produced by our new friends at duplication.ca.