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For once, the museum’s future is looking bright, and there seems to be two reasons, one internal and one external, as to why.
First and foremost, the brothers are working to draw younger and younger audiences to the museum, to engage children and young adults about wood type.
In January 2010, Kartemquin Films of Chicago released its documentary Typeface, directed by Justine Nagan, which related to wide audiences the beauty of wood type, its history and Hamilton’s unfortunate state. The woman who introduced the brothers described the story of their transformation of the Hamilton Museum as “a fairytale come true.” Over the course of an hour the two switched off talking about what they have done, what they plan to do and what great challenges remain. They are also going to where the students already are, teaching one and two day workshops at Midwestern art schools. Rather than wring their hands in despair in the face of financial difficulty, the two are writing grants and petitioning for funds to take on some type design and type cutting work. Paul Kengor, Barack Obama, George Obama, Sarah Obama, Philip Ochieng, Joseph Ojiru, Daniel Pipes, Shelby Steele, Dr. That is, was nearly dead, until Jim and Bill Moran moved to Two Rivers, Wisconsin and revived the Hamilton Wood Type and Printing Museum, an ambitious feat to say the least.
Though a small production, the film showed at a number of film festivals and won the 2009 Flyway Film Festival Award for Best Documentary. One of the challenges presented in Typeface was the hundreds of boxes of old type that still needed sorting.


They have begun utilizing social networking sites in order to reach broader audiences and have also begun producing and selling affordable wood type products, such posters and books, online. They will be cutting the new wood font of the Lushootseedalphabet, the six hundred year old language of the Native American Tulalip tribe of Washington State.
Founded by James Edward Hamilton in 1880 as the Hamilton Hollywood Type Company, the business soon came to monopolize the industry, providing wood type printing services to hundreds of companies and individuals nationwide. It, furthermore, excited viewers, attracting a number of Midwesterners to Two Rivers for museum tours. Under the Morans’ leadership and with the help of tens of volunteers, Hamilton has gone through one hundred and twenty-nine of the one hundred and thirty-five boxes there once was to sort.
In doing so, they are often “re-striking” Hamilton originals, so that one can buy old movie posters, circus advertisements, etc.
The language, which was only converted into writing in the 1960s, currently faces extinction. Lighter than metal, wood type was ideal for posters and large signs, and it’s aesthetic permeates iconic images of the 20th century. At the point in which the film leaves off, in the early spring of 2009, the director is getting ready to leave the museum due to lack of funds and despair.
In the process, they have discovered many different kinds of old type, some still extremely functional and others so complex in their intense stylization that one wonders what they were originally cut for.


The Hamilton Museum’s cutting of the font and printing of posters will assist the tribe in their educational endeavor of restoring the language to every day use. But as modern technology developed, the demand for wood type printing rapidly declined, and in 1985 the Hamilton Factory, the last of its kind, was forced to shut down. By April 2009, Jim Moran was hired as the new Museum Director, and in September 2009, Bill Moran was brought in as the Artistic Director and Development Coordinator. The Morans also expect to begin a project shortly with the Gutenberg Museum, and though it is only in the preparation stages, it is bound to be something of significant historical interest to the medium. It would remain essentially untouched until 1999 when the Two Rivers Historical Society opened the former factory space and converted it into a museum commemorating the medium’s history. Long-time typesetters and historians of the medium from Green Bay, the Moran brothers, in taking over the job, would quickly turn the museum’s hopes around.
Together, the brothers are demonstrating that fresh eyes and enthusiasm can make others realize the magic of art previously neglected and nearly forgotten. Since its inception, however, the museum has operated “in the red,” an unfortunate trend, which is expected to change shortly.



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