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).

Latinos in the South, founded in 2007 with help of the Ford Foundation, is a political and societal campaign group located in the Southern United States. Its purpose is to battle HIV infection within the Latin-American community of that region and to improve the healthcare for people living with HIV. The group also fights for the right to healthcare and social acceptance for people of color, immigrants, and LGBQT. In practice, it is about building a community, informing and empowering it – overcoming stigma, language and culture barriers.

The design of the website uses three principal colors – violet, orange and petrol green – that cast a friendly light on a serious topic. The typefaces used are the seriffed Grad by Mark Simonson for the reading text and the sans-serif Stratos for headlines, navigation, and some info graphics. Stratos was designed by Yoann Minet and published by Production Type. It combines lowercase letters of normal width and a geometric, modernist appeal with capital letters of condensed proportion which comes in handy when you have to communicate a lot of acronyms. Stratos comes with ten different weights (plus their italics), making it a perfect pick for complex editorial projects, on screen or in print.

The Latinos in the South logo uses the Condensed Sans Press style of Pavel Korzhenko’s The Bartender.

Tiller and OC Highway are paired on this in-house label design by James Donaldson for Chemist Spirits:

Handcrafted with estate-grown barley aged in new oak barrels and finished in Biltmore wine barrels for a perfectly balanced flavor profile, Biltmore Whiskey captures the timeless elegance of America’s finest and most legendary estate.

The Biltmore wordmark with the descending swash R appears to be based on Aeneas. Century Schoolbook Condensed Bold is used for the “Red Wine Barrels” etc. on the sides of the label (blurred but visible) and Century Schoolbook Monospace is picked for the “Distilled and bottled by” arched type, visible on the left and right sides of the bottom portion of the label.

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

The Willow Pond area, newly added to the North Carolina Arboretum in Asheville, has its own visual system, established by sheets of weathering steel pierced with nature patterns and a distinct typographic palette.

We never expected to see Cortado made into a stencil! Here the designer added bridges for structural integrity, taking great care to respond to the curves and shapes of the brushstrokes. For extended text on a pavilion donor wall, Anita Semi-square casually bridges the gap between the flowing shapes of script type and the cold metal structures.

The basic logo, to be turned into a neon sign eventually

Cry Baby is “a euphoric cocktail bar” coming to Asheville, North Carolina, in summer 2023. The lovechild of Lexy Rae and Zane Buchholz, Cry Baby will offer cocktails “inspired by martians and basketball.”

Connor Mikita already started working on the bar’s brand design. For the all-caps logo, he unearthed a largely forgotten Art Deco design of unclear origin. The hairline sans with added triangles looks a little as if Broadway (or rather its high-contrast cousin ITC Manhattan) had one martini too much. A film typeface was shown by Castcraft in their 1978 catalog as Ricky Tick, with numerous alternates. Shin Oka of Daylight Fonts points out loose similarities to a piece of lettering by A. Bardi, shown as “Publicité” in Vignettes Lettres Chiffres Monogrammes et Rehauts Modernes, Les Editions Guérinet, Paris, 1931. In 2010, Dick Pape made a freebie digitization named DXS Ricky Tick, based on a showing in Dan X. Solo’s Art Deco Display Alphabets, Dover from 1982.

Ricky Tick is paired with various 1970s (or 1970s-style) typefaces.

Business card featuring the logo in Ricky Tick, with Funkford (2018) for the slogan, “Cry now, cry later”. See Connor’s video for full glory. He comments: “This is most likely the start of a long tradition of gold embossing everything.”

The back of the business card additionally features ITC Pioneer (1970) for the title and phone number.

Announcement graphic with Zipper (1970)

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.