Coffee with Jim Moran of Hamilton Wood Type

[ Installment 1 ]

Welcome to Coffee with a Letterpress Friend.  We are “sitting down” with many varied friends every few weeks for a cozy, relaxing chat. Certainly, we will ask questions about printing-related topics but things could go off in unexpected directions.  This week during Letterpress Week, we’ll gather with a few folks, so go grab your beverage of choice and let’s start.  

Today’s friend is Jim Moran of Hamilton Wood Type (HWT) in Two Rivers Wisconsin.  Many of us are envious of his job at the Museum surrounded by the history and all those wood type specimens.

Jim Moran - Coffee With-WEB

Boxcar Press: Hi Jim, Is there one defining moment that you can recall or point to that was the start of your printing career?

Jim: I was 10 years old and goofing around in my grandfather’s print shop. I had seen both he and my Dad setting type, so I had an idea how it worked. I opened a drawer of 18pt. Cheltenham and tried to spell my name. Where the hell was the letter J? I checked other drawers until I found one marked in pencil to designate their place. Once I set my name, I put it on a little Challenge proof press and inked it up. The black ink was always ready for proofing with a brayer hung on the end. The paper had an enamel finish for clarity. I inked up and pulled a proof! There was my name, magically! That’s all it took.

Boxcar Press:  We can relate to that feeling. Is there a similar moment for your involvement with HWT?

Jim: I was working for a Green Bay printer 12 years ago and not liking it much. Sales in NOT rewarding, in my mind. I had been volunteering at Hamilton with my brother Bill, often thinking about how much I enjoyed working with type. I met a woman who was dating my cousin and we were talking about doing the things you really want to, in a general way. She said, “I think you have to ask yourself what you want and how much of your time you actually spend working toward doing those things.” She was not speaking to me specifically but I decided right then, that I would work toward getting a job at the museum. I applied for the job 6 weeks later.

Boxcar Press:  Your Aha! moment. You are well suited to HWT. Tell us about mentors or printers that you admire or set you on a particular path?

Jim: I owe so much to my Dad. He was a VERY good printer and an even better artist. He worked me pretty hard, in that he expected my best and was extremely thorough in his approach to what I learned. That meant printing, repairing, composing, estimating, managing, laughing, reading and studying. Always learning. I worked with him for the better part of 29 years. My Mom’s lessons were much more subtle: patience, kindness, reading and keeping a sense of humor. 

Boxcar Press:  The people who guide us are always significant. So can be the equipment. Tell us about a press you remember fondly (or not so fondly) or one you have now that you prefer to use?

Jim:  I have an 8 x 12 Chandler and Price that I was taught to run in 1969. I use it whenever I can.

Boxcar Press:   What is that one project that you are always going to get to, that you really want to do but it just never seems to get done?

Jim:  Printing a four-color billboard.

Thanks, Jim for the little chat.  We appreciate this time of getting to know you and will have plenty more questions to ask at future times when the coffee is perked and we can sit again.  

We encourage you to visit the Hamilton Wood Type website and catch a Hamilton Hang on Fridays with Zoom.  Click on the link to the “Awayzgoose” and make plans to be in virtual attendance in November.  This year’s event is in partnership with the American Printing History Association and is packed with speakers and tours galore.

Printing Heritage at Hamilton Wood Type & Museum

(All photos courtesy of Knorth Studios)

Jim Moran of Hamilton Wood Type & Printing Museum recounts a day in his life at this stunning printing museum. Housing aisles upon aisles of history, craftsmanship, and deep printing roots, the Museum is a testament to the old (and new) ways printing remains such a treasured part of our culture.

I always get to the museum first thing in the morning. Maybe I need to slowly gather my thoughts but there’s something else. 

Turning on the lights, I take a long walk in this place. I’m trying to see everything and what needs to be done. The sander for half-rounds has a coil of wires that I’ve never liked and ought to be cut off. There is a display of patterns that seem to have been cut a hundred years ago and they seem more like sketches in wood. The pencil marks are precise as an architect’s. And why cedar? What an awful wood to cut cross-grain. Who did them? Could it have been a William Page employee that Hamilton brought here?

Among the type displays, I pause in front of Arabesque. The smoky strokes seem sixty-ish and I think of Janis Joplin posters. The row of platen presses are out of order. They should be chronological. Some need rollers, the treadle on the Challenge should be reconnected, there’s no tympan paper on a few and what could I lock up in their chases to explain the process better. 

In the “Central Room”, I dislike the name itself for being non-descript. I want to cover the walls behind the linotypes with newspaper pages from back in the day. Nearby, a Miehle is too gummed up with ink and grease and a Heidelberg serves mostly as a source to rob parts from. When will I get the ruling machine running again? 

Now in the staff pressroom, I’m tempted to put on an apron and run posters of horse races all day long. Maybe all week. The blocks are frozen in action of galloping hooves that will only come to life in printing. They may not have seen ink since the 50s. I wonder about registering their colors and the thrill of the first print that’s never left me since age 10 when I first set and printed my own name. Magic! Random type cases lean in small spaces, hoping to be filled again with Caslon or Engraver’s Text. I think there’s a cabinet in the back they’ll fit into but I resist the urge to check. 

The classroom lights snap on and I read each switches name; House left, House center, House right. The names mean nothing until Wayzgoose, which reminds me I need to create a backdrop for the presenter’s stand. Before I can do that there are boxes of blocks, mostly musician based, that have to be archived but not today. Better to prep for a workshop this weekend and replace those lights in the corner of the room.

Finally, in the gallery, everything is lit and I look over the exhibit again. It’s a good show that I’m lucky to consider for many days. I should look at new emails. Staff will arrive soon and there’s bound to be something I ought to be doing. Maybe printing horses.

For more information and fun about the wonderful Hamilton Wood Type & Printing Museum please visit their Facebook and Instagram pages!