{"title":"Steven Heller Collection","description":"","products":[{"product_id":"steven-heller-facebook","title":"Steven Heller: Facebook","description":"\u003cp\u003eIt’s 2007. American Illustration and the School of Visual Arts Masters Series gets together to make a book of portraits as a tribute to Steve Heller. With fifty-four portraits, it’s an opportunity to see how fifty-four designers and illustrators solve the problem of Steven Heller. A sweet tribute signed by SH himself. \u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47269518999792,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/HellerFacebook.jpg?v=1740854159"},{"product_id":"yale-summer-program-graphic-design-paul-rand","title":"Yale Summer Program: Graphic Design (Paul Rand)","description":"\u003cp\u003eIt’s time to start thinking about what you’ll be doing this summer. By \u003cem\u003ethis summer\u003c\/em\u003e we mean \u003cem\u003ethe summer of 1988\u003c\/em\u003e. Why not consider Yale’s summer program in Brissago, Switzerland? Paul Rand designed this informative poster to let you know that he’d be there with Philip Burton, Armin Hofmann, Richard Sapper, Christian Vogt, Dorothea Hofmann, Dr. Ulrike Jehl-Schulte Strathaus, Werner Jehele, and Max Mathys. It’ll cost $3,700 to attend. (That’s a little over $10,000 in today’s money, but it included tuition, supplies, lodging, breakfast, and dinner for thirty-seven days. So $270\/day.) A handsome thing, rarely seen. A neat thing about it is that it folds in half so you can frame it and hide all the business at the bottom. From the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47269533614320,"sku":null,"price":400.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/RandYalePoster_4.jpg?v=1740868921"},{"product_id":"the-new-york-review-of-sex-politics","title":"The New York Review of Sex \u0026 Politics, Vol. 1, No. 12 (September 1969) (Facsimile)","description":"\u003cp\u003eOf this publication (of which this is a facsimile issue), Steven Heller writes:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eI was the art director and co-publisher of a late-sixties underground paper titled \u003cem\u003eThe New York Review of Sex (\u0026amp; Politics)\u003c\/em\u003e, a curious mix of new left politics and sexual “liberationsploitation” that grew out of a socio-political paper called \u003cem\u003eThe New York Free Press\u003c\/em\u003e. When it was discovered that the \u003cem\u003eFreep\u003c\/em\u003e, as it was known, only sold out an edition when nudes (preferably women) were put on the cover, we participated in the launch of the first underground sex paper, \u003cem\u003eScrew\u003c\/em\u003e (and I became the first art director). But after some internal disputes with \u003cem\u003eScrew\u003c\/em\u003e‘s legendary publisher, Al Goldstein, the \u003cem\u003eFreep\u003c\/em\u003e folks broke away and founded the \u003cem\u003eNYRS\u003c\/em\u003e, mostly out of “revenge.”\u003c\/p\u003e\n\u003cp\u003eLots of good content here—include a full-frontal nude photo of our godson’s grandmother’s cousin.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47269544526064,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Review-of-Sex.jpg?v=1740862757"},{"product_id":"photo-metro-vol-11-no-101-august-1992","title":"Photo Metro (Vol. 11, No. 101; August 1992)","description":"\u003cp\u003ePhotography was critical in moving forward graphic design and typography and illustration. Did \u003cem\u003ePhoto Metro\u003c\/em\u003e play a part in that evolution? Probably not. But its editors did pay attention. That’s clear from the design of this issue. You might think this is not something that fits our usual offerings, but there are clues in here to discovering a wider world. From the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47269566021872,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/PhotoMetro2.jpg?v=1741100333"},{"product_id":"lesen-sehen-wahrnehmen-das-plakatschaffen-von-armin-hofmann-in-7-gruppen","title":"Lesen, Sehen, Wahrnehmen: Das Plakatschaffen von Armin Hofmann in 7 Gruppen","description":"\u003cp\u003eSpend twenty minutes with Armin and Matthias Hofmann. Father and son discuss Armin’s posters in seven groups. See, hear, and watch two exceptional designers talk about design. Annoyingly rare and from the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47269677007088,"sku":null,"price":120.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/HofmannMovie.jpg?v=1741119244"},{"product_id":"paul-rand-48-sketches-mechanicals-and-proofs-for-the-logo-of-the-limited-6-pages-of-sketches-designs-and-notes-for-a-logo-for-tlc-group","title":"[Paul Rand: 48 sketches, mechanicals, and proofs for the logo of The Limited + 6 pages of sketches, designs, and notes for a logo for TLC Group]","description":"\u003cp\u003eThe nice thing about offering things once owned by Steve Heller is that sometimes he’s already written the description for us. This time he’s done us a solid by posting \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/sketches-for-the-limited-tlc-group\/\" target=\"_blank\" rel=\"noopener\"\u003ethis\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003ePaul Rand said he would only show the client one logo idea. Although he always had a few up his sleeve. In fact, he admitted that he often did sketches whether he got the job or not. In 1988 he worked on a word mark for The Limited and logo for TLC Group, a successful African American owned business. Neither were produced, but as the sketches below show, Rand worked on (and played around with) many versions before deciding on what to show. There is no record of a final for TLC, which owned Beatrice Foods, but for The Limited, a clothing chain based in Columbus, Ohio, the final was the double line version with the words at a right angle and the “I” on either side of the “M” holding hands.\u003c\/p\u003e\n\u003cp\u003eThis collection of sketches, mechanicals, stats, and notes is kept in black binder and is a physical trail that shows what was involved with developing a logo for presentation to a client. It’s fascinating to see dead ends and false starts, all made on the way from start to finish.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47269692735728,"sku":null,"price":2000.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/RaneLimitedTLC.jpg?v=1741114797"},{"product_id":"new-pencil-points-no-6-june-1943","title":"New Pencil Points, No. 6 (June 1943)","description":"\u003cp\u003eSo, we got in \u003ca href=\"https:\/\/ksmallgallery.com\/search?q=New+Pencil+Points\"\u003ea few \u003cem\u003eNew Pencil Points\u003c\/em\u003e.\u003c\/a\u003e It was an architecture magazine. It started as \u003cem\u003ePencil Points\u003c\/em\u003e in 1920. Then ran as \u003cem\u003eNew Pencil Points\u003c\/em\u003e between 1942 and 1943. And then it was \u003cem\u003eProgressive Architecture\u003c\/em\u003e until it died in 1995. This one is No. 6. It’s got a handsome cover designed by architect Bernard Rudofsky and a surprisingly large number of advertisements for pencils. No joke.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47616581468400,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/NewPencil6.jpg?v=1748712610"},{"product_id":"david-byrne-3-big-songs-m-co-maira-berman-kalman","title":"David Byrne: 3 Big Songs album cover (M\u0026Co + Maira Berman [Kalman])","description":"\u003cp\u003eBear with us. We can’t find the exact date of release for David Byrne’s \u003cem\u003e3 Big Songs\u003c\/em\u003e, but those three big songs come from his album \u003cem\u003eThe Catherine Wheel\u003c\/em\u003e which was released on November 23, 1981. So it stands to reason that the \u003cem\u003e3 Big Songs\u003c\/em\u003e was released around that time. \u003cem\u003e3 Big Songs\u003c\/em\u003e was designed by Tibor Kalman’s M\u0026amp;Co. The illustrations are credited to Maira Berman. We can’t find the date that Maira Berman married Tibor Kalman in 1981 and became Maira Kalman, but we can tell you that these illustrations are by Maira Kalman before she became \u003ca href=\"https:\/\/mairakalman.com\/\" target=\"_blank\" rel=\"noopener\"\u003eMaira Kalman\u003c\/a\u003e. A delightful album cover without the bother of dealing with the album. \u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47618675507440,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Byrne.jpg?v=1748706162"},{"product_id":"new-pencil-points-no-1-january-1943","title":"New Pencil Points, No. 1 (January 1943)","description":"\u003cp\u003eSo, we got in \u003ca href=\"https:\/\/ksmallgallery.com\/search?q=New+Pencil+Points\"\u003ea few \u003cem\u003eNew Pencil Points\u003c\/em\u003e.\u003c\/a\u003e It was an architecture magazine. It started as \u003cem\u003ePencil Points\u003c\/em\u003e in 1920. Then ran as \u003cem\u003eNew Pencil Points\u003c\/em\u003e between 1942 and 1943. And then it was \u003cem\u003eProgressive Architecture\u003c\/em\u003e until it died in 1995. This one is No. 1—the first of the new title. It’s got a handsome cover designed by architect Bernard Rudofsky. In fact, the masthead reports that he was responsible for the overall design and montages in the issue. Also, there’s a surprisingly large number of advertisements for pencils. For real.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47618806546672,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/NewPencil1.jpg?v=1748713665"},{"product_id":"grundkurs-typographie-hfg-ulm-otl-aicher-hans-g-conrad","title":"Grundkurs Typographie, HfG Ulm, Otl Aicher (Hans G. Conrad)","description":"\u003cp\u003eHans G. Conrad was the first student enrolled at the Ulm School of Design founded in 1953 by Inge Aicher-Scholl, Otl Aicher, and Max Bill. Conrad took the basic course in typography with Aicher, keeping an exercise book with the presented lessons. That exercise book is now in the possession of \u003ca href=\"http:\/\/www.renespitz.de\/\"\u003eProf. Dr. René Spitz\u003c\/a\u003e of Cologne. He made six prints from the exercise book and stamped, signed, and dated them on the back. These are them. They’re a beautiful showing of lettering and type from when people still used pen and paper and taught in-person in a classroom with chalk and a chalkboard. So scarce that even Dr. Spitz forgot about them. (We reminded him when we were looking for details.)\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47627198857456,"sku":null,"price":250.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/AicherPrints.jpg?v=1748976487"},{"product_id":"kwadraat-bladen-21-daily-mirror-dieter-roth","title":"Kwadraat-Blad 21: Daily Mirror (Dieter Roth)","description":"\u003cp\u003eThis description is long, so let’s not bury the lead: \u003cmeta charset=\"utf-8\"\u003e\u003ca rel=\"noopener\" href=\"https:\/\/vimeo.com\/1090649113?share=copy\" target=\"_blank\"\u003eWatch a flip-through of the whole beautiful thing »\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eKwadraat-Bladen was a series of graphic experiments published by Steendrukkerij de Jong in the Dutch city of Hilversum between 1955 and 1974. They were always square. And they were always awesome. Thirty-five issues were published. This is the twenty-first. It was conceived and designed by Dieter Roth with enlarged details from the \u003cem\u003eDaily Mirror\u003c\/em\u003e printed on sixty loose leaves of newsprint. It is as magnificent as it is fragile. Unfortunately it lacks the 4-page explanation that was in English and Dutch, but we have printed a reproduction of that intro at 95% of the original, from scans made by \u003ca rel=\"noopener\" href=\"http:\/\/www.danielmellis.com\/\" target=\"_blank\"\u003eDaniel Mellis.\u003c\/a\u003e To make up for the missing original 4-pager (and a square that was cut in the front cover, probably to save the stamp) we are delighted to report that this copy was originally mailed (and belonged) to \u003ca href=\"https:\/\/www.nytimes.com\/2011\/12\/02\/nyregion\/louis-silverstein-times-art-director-dies-at-92.html\" target=\"_blank\"\u003eLouis Silverstein\u003c\/a\u003e, the legendary art director for the \u003cem\u003eNew York Times\u003c\/em\u003e, about whom Massimo Vignelli said, “We are affected by all the factors in the environment around us, and nothing is more ubiquitous than the newspaper. By changing the \u003cem\u003eTimes\u003c\/em\u003e and influencing so many newspapers in other cities, we are indebted to him for improving the quality of our lives.” Then it belonged to Steven Heller. And soon it will belong to you (provided you purchase it).\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":47627274322160,"sku":null,"price":300.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/DieterRoth.jpg?v=1749073280"},{"product_id":"planning-design-and-evaluation-of-motion-pictures-for-business-and-industry-bradbury-thompson","title":"Planning, Design and Evaluation of Motion Pictures for Business and Industry (Bradbury Thompson)","description":"\u003cp\u003eThe Stephen Colhoun Company Inc. was established to produce industrial films. Stephen Colhoun was a photographer and art director and apparently made films (although IMDB just lists one short) and he started this company with other Colhouns, Otto Preminger, and Bradbury Thompson. They produced a newsletter called \u003cem\u003eBusiness Films\u003c\/em\u003e to attract businesses in need of films. This wicked rare brochure introducing the company was designed by Brad Thompson who gave it to Steve Heller who gave it to us so we could sell it to you. A curious thing, nicely produced.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":48029151527152,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/StephenColhoun.jpg?v=1757705579"},{"product_id":"steven-dohanos-bradbury-thompson","title":"Stevan Dohanos (Bradbury Thompson)","description":"\u003cp\u003eAlthough designed by Bradbury Thompson, this book is really all about artist-illustrator Stevan Dohanos. Ol’ Brad knew enough to stay out of Dohanos’s way and let the illustrations and paintings shine. We’re of the opinion that that’s how it should be. But we’re old fashioned. And old. Anyway, this catalogue from 1985 came to use from Steve Heller who got it from Bradbury Thompson. And now you can get it from us. Allow us to illustrate:\u003c\/p\u003e\n\u003cp\u003eBradbury Thompson › Steven Heller › Katherine Small Gallery › You\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":48029184000240,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/StevanDohanos.jpg?v=1757707503"},{"product_id":"hourly-paid-employees-pension-plan-bradbury-thompson","title":"Westvaco Pension Plan for Hourly Paid Employees (Bradbury Thompson)","description":"\u003cp\u003eThe interesting thing about this one is . . . just kidding. It describes a pension plan. There’s nothing interesting about it save for the fact that it was nicely designed by Bradbury Thompson and given to Steven Heller. \u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":48029390471408,"sku":null,"price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/WestvacoPensionPlan.jpg?v=1757713742"},{"product_id":"connecticut-college-school-of-dance-20th-annual-session-bradbury-thompson","title":"Connecticut College School of Dance: 20th Annual Session (Bradbury Thompson)","description":"\u003cp\u003eIt’s 1967. Can you believe it’s been twenty years since the first Connecticut College School of Dance’s annual Session? Jeez. Time flies. Seems like time to mark twenty years of dance, right? The Board agrees and has Bradbury Thompson design this promotional booklet. He then gives it to Steve Heller. To find out what happens to it next, click the \u003cem\u003eAdd to Cart\u003c\/em\u003e button above and follow the instructions. \u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":48029407248624,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Dance20.jpg?v=1757714948"},{"product_id":"a-short-shirt-tale","title":"A Short Shirt Tale","description":"\u003cp\u003eThere are many reasons it’s great to get things from Steven Heller. The top reason is that he has great things. The second-top reason is that when we’re lucky, he’s written about an item, and it saves us a lot of work. He’s written about this particular item in \u003cem\u003ePrint\u003c\/em\u003e. Here’s what he had to say:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eBack in the smart, do-a-lot-with-a-little days of product promotion and branding, clothing company Phillips-Van Heusen produced this lovely little “A Short Shirt Tale” about how it raised its sales through a few smart ads in Business Week. Promotion just isn’t done this way any more.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49751470637296,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/AShortShirtTale.jpg?v=1780679876"},{"product_id":"techniques-of-leadership-rudolph-deharak","title":"Techniques of Leadership (Rudolph deHarak)","description":"\u003cp\u003eA good McGraw-Hill. A good book. With a cover by Rudolph deHarak, this one is upward-pointing Instagram gold. If you ask, we’ll even throw in hi-res versions of the above pics to save you the trouble of shooting yourself. From the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49751480631536,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/TechniquesofLeadership.jpg?v=1780679810"},{"product_id":"week-end-painter-rudolph-deharak","title":"Week-end Painter (Rudolph deHarak)","description":"\u003cp\u003eA good McGraw-Hill. A good book. With a cover by Rudolph deHarak, this one is totally tubular Instagram gold. If you ask, we’ll even throw in hi-res versions of the above pics to save you the trouble of shooting yourself. From the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49751489642736,"sku":null,"price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/WeekEndPainter.jpg?v=1780679713"},{"product_id":"ibm-graphic-design-guide-revised-packaging-section","title":"IBM Graphic Design Guide + “Revised Packaging Section”","description":"\u003cp\u003eOK. Are you ready? Here’s one of the most special things we’ve ever offered. And it’s a twofer. The first part is Paul Rand’s working copy of IBM’s graphic standards manual. It’s been used, cut up, annotated, and added to. It is a fascinating document and an inspiration that shows incredible attention to detail. Because Rand could not do everything himself, he had to spell everything out in detail to accommodate (as Steven Heller wrote) the “designers who were doing random work, and who were at odds with the burgeoning C[orporate] I[dentity] standards.” It is fascinating—and it includes \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/ibm-classic-look-explained\/\" rel=\"noopener\" target=\"_blank\"\u003e\u003cem\u003eThe IBM look\u003c\/em\u003e\u003c\/a\u003e, a 16-pager that lays out the philosophy of the design program. Built up over the course of thirty years, it includes inserts from 1962, 1970, 1972, 1973, 1977, 1977, 1978, 1981, 1984, and 1992. \u003ca href=\"https:\/\/vimeo.com\/1196080769\" target=\"_blank\"\u003eWatch a 6-minute flip-through of the entire thing »\u003c\/a\u003e\u003c\/p\u003e\n\u003cp\u003eThe second part is a binder labeled “Revised Packaging Section.” It is largely a collection of ninety-five photocopies of IBM Packaging Guidelines from 1988. But they are a working set of photocopies, as Rand marked them up and finessed things. He colored in some black to make it more black. He pasted a new word onto a page. Even if they are just photocopies, it’s a neat, working document that makes the \u003cem\u003eGraphic Design Guide\u003c\/em\u003e described above that much more interesting. \u003c\/p\u003e\n\u003cp\u003eFrom the collection of Steven Heller. \u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49769771139312,"sku":null,"price":15000.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/IBMGraphicStandards.jpg?v=1779909919"},{"product_id":"a-holiday-card-by-lou-dorfsman","title":"[a holiday card by Lou Dorfsman]","description":"\u003cp\u003eIt’s time for the holidays—and by \u003cem\u003ethe holidays\u003c\/em\u003e we mean Xmas and New Year’s Day. Lou Dorfsman saw them coming and planned ahead by prepping this clever wordless story. A total charmer. You gotta purchase (or come in) to see how the story ends. From the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49774532821232,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/DorfsmanXmas.jpg?v=1780679620"},{"product_id":"design-quarterly-133-does-it-make-sense-april-greiman","title":"Design Quarterly 133: Does it make sense? (April Greiman)","description":"\u003cp\u003ePublished in 1986 by the Walker Art Center, this is widely recognized as a watershed moment in the digital transformation of graphic design. Commissioned to design and edit the issue, Los Angeles-based design pioneer April Greiman completely subverted the traditional 32-page magazine format by structuring the publication as a massive double-sided, fold-out poster measuring over two by six feet, housed within a compact paper slipcase. Created during the infancy of personal computing, the piece was a technical tour de force executed entirely on an early Macintosh computer using MacDraw software and digitized low-resolution video captures. The front features a life-size, pixelated, digitized nude self-portrait of Greiman overlaid with celestial, symbolic, and typographic elements. Inspired by philosopher Ludwig Wittgenstein, the poster questioned and validated the potential of the new digital medium. \u003ca href=\"https:\/\/www.moma.org\/collection\/works\/172729\" rel=\"noopener\" target=\"_blank\"\u003eNow held in the permanent collection of MoMA\u003c\/a\u003e (where you can better see the poster in its entirety), this landmark object remains an iconic exploration of human identity intersecting with electronic technology. \u003cem\u003ePow!\u003c\/em\u003e—and it’s from the collection of Steven Heller. RARE.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49808116318448,"sku":null,"price":1500.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/DQ133.jpg?v=1780686881"},{"product_id":"teen-agers-live-in-a-world-of-their-own-lou-myers","title":"Teen-agers live in a world of their own [. . .] (Lou Myers)","description":"\u003cp\u003eThere are many reasons it’s great to get things from Steven Heller. The top reason is that he has great things. The second-top reason is that when we’re lucky, he’s written about an item, and it saves us a lot of work. He’s written about this particular item in \u003cem\u003ePrint\u003c\/em\u003e. Here’s what he had to say:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eLou Myers was a hilarious cartoonist with an expressively lunatic line. He was a master, sadly forgotten. This was a fold-out ad done for WQXR Radio when Louis Silverstein was promotion art director at \u003cem\u003eThe New York Times.\u003c\/em\u003e It speaks volumes about radio and promotion in the 1950s when art sold the soft-sell.\u003c\/p\u003e\n\u003cp\u003eWe’re even luckier when he writes the obituary for the designer—or, in this case the cartoonist. Learn more about Lou \u003ca href=\"https:\/\/www.nytimes.com\/2005\/11\/21\/nyregion\/lou-myers-cartoonist-with-a-satiric-style-dies-at-90.html?_r=0\" target=\"_blank\" rel=\"noopener\"\u003ehere.\u003c\/a\u003e\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49808186081520,"sku":null,"price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/LouMyers.jpg?v=1780688498"},{"product_id":"reklama-4-1988","title":"Reklama (1988, No. 4)","description":"\u003cp\u003ePublished during Perestroika, this 1988 issue of the Soviet journal \u003cem\u003eReklama\u003c\/em\u003e (Advertising) highlights late-Soviet designers reclaiming their revolutionary avant-garde heritage. Beyond its abstract cover and a featured showcase of non-conformist artist Igor Berezovsky, the issue includes a richly illustrated history of 1920s Constructivist design, reproducing iconic state propaganda posters, candy wrappers, and layouts by Aleksandr Rodchenko and Vladimir Mayakovsky. It pairs these historical retrospectives with analytical breakdowns of contemporary Western marketing systems and Colgate television storyboards, making it a vital primary document of Soviet visual culture transitioning into the global, postmodern media landscape. The journal ceased publication in 1991. Its final issues were produced as the Soviet Union collapsed and the state ministries funding the publication—specifically the USSR Ministry of Trade and the Interdepartmental Council on Advertising—were permanently dissolved. Now, this magazine is all in Russian and presumably you won’t be able to read any of it without your phone doing the translating, but it’s a rare and fascinating thing from the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49808478109936,"sku":null,"price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Reklama-1988-4_ef65c035-d5c4-4e62-9aea-2cc7d7ccfc9e.jpg?v=1780692663"},{"product_id":"reklama-1989-no-4","title":"Reklama (1989, No. 4)","description":"\u003cp\u003eAs Perestroika-era openness deepened, this 1989 issue of \u003cem\u003eReklama\u003c\/em\u003e captures a Soviet design community shifting its focus from historical retrospectives to urgent social and commercial realities. The issue is visually anchored by striking, full-bleed color photography spreads showcasing conceptual still lifes—such as an apple wrapped in a snake—and warehouse shelves packed with classroom globes, alongside an educational feature detailing professional technical advice on studio layout and adhesive methods. Mirroring the era’s liberalized public health campaigns, it reproduces a prize-winning, cartoon-style “Stop AIDS” poster by V. Mickevičius from the Baltic states, published alongside modern corporate identity systems for Soviet institutions like Leningrad’s Aurora Art Publishers. It pairs these graphic showcases with a consumer advocacy column discussing audience feedback on a promotional film for the “Don-1500” combine harvester, making it a crucial artifact of late-Soviet media navigating the dawn of public relations and institutional branding. The journal ceased publication in 1991. Its final issues were produced as the Soviet Union collapsed and the state ministries funding the publication—specifically the USSR Ministry of Trade and the Interdepartmental Council on Advertising—were permanently dissolved. Now, this magazine is all in Russian and presumably you won’t be able to read any of it without your phone doing the translating, but it’s a rare and fascinating thing from the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49808509501680,"sku":null,"price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Reklama-1989-4.jpg?v=1780693268"},{"product_id":"reklama-1990-no-2","title":"Reklama (1990, No. 2)","description":"\u003cp\u003eEntering the final stretch of the Soviet era, this 1990 issue of \u003cem\u003eReklama\u003c\/em\u003e charts a radical leap into Western-style consumerism, corporate branding, and provocative media layout. The dramatic cover—featuring a high-contrast photograph of a woman’s high-heeled shoe explicitly nodding to the style of Helmut Newton—sets the stage for an issue fascinated by global design philosophies and market economics. Inside, the journal profiles the sleek, legendary industrial design work of Hartmut Esslinger’s Frogdesign alongside modern product photography showcasing colorful consumer tech like roller skates and portable audio players. This international outlook is paired with an extensive look at the blossoming domestic private sector, reproducing bold, geometric logos for joint business ventures like Intercomp, the Camellia cafe, and emerging sewing cooperatives. Capturing a crumbling state apparatus trying to decipher capitalistic market systems, it frames these visual portfolios with theoretical essays on advertising ethics, the financial realities of freelance design, and European integration. The journal ceased publication in 1991. Its final issues were produced as the Soviet Union collapsed and the state ministries funding the publication—specifically the USSR Ministry of Trade and the Interdepartmental Council on Advertising—were permanently dissolved. Now, this magazine is all in Russian and presumably you won’t be able to read any of it without your phone doing the translating, but it’s a rare and fascinating thing from the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49808513827056,"sku":null,"price":80.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Reklama-1990-2.jpg?v=1780693666"},{"product_id":"8-letterheads-the-howard-bond-letterhead-portfolio-by-eight-contemporary-designers","title":"8 Letterheads: The Howard Bond letterhead portfolio by eight contemporary designers","description":"\u003cp\u003eThere are many reasons it’s great to get things from Steven Heller. The top reason is that he has great things. The second-top reason is that when we’re lucky, he’s written about an item, and it saves us a lot of work. He’s written about this particular item in \u003cem\u003ePrint\u003c\/em\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/vintage-letterheads\/\" target=\"_blank\" rel=\"noopener\"\u003eDecember 25, 2016\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eWith the veritable end of letter writing, the important job of designing letterheads may go the way of the wax seal. This artifact of letterhead virtuosity below is one of the choice items in the pantheon of designed stationery.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eAlas, I could only scan a few of the eight Howard Bond how-to portfolio pieces by the likes of Saul Bass, Will Burtin and others. But enjoy what there is on this Boxing Day.\u003c\/p\u003e\n\u003cp\u003eThat was a little on the light-side, but it was Xmas Day. We’ll fill in the blanks by reporting that in this item you’ll see samples of letterheads alongside sketches and notes. It’s a good how-to, made in an effort to sell you paper. A rare thing hardly acknowledged by the Internet and databases.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49808537944304,"sku":null,"price":300.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/8Letterheads.jpg?v=1780694450"},{"product_id":"idea-no-153","title":"Idea, No. 153","description":"\u003cp\u003eWe’ve not looked into this for a long time, but when we first opened we wanted to carry this magazine from Japan. And \u003ca href=\"https:\/\/ksmallgallery.com\/search?q=eyemag\"\u003e\u003cem\u003eEye\u003c\/em\u003e\u003c\/a\u003e from England. As we recall, the distributor insisted that we carry five titles. There probably aren’t five worthwhile graphic design magazines in the world. We considered getting \u003cem\u003eCat Fancy\u003c\/em\u003e and \u003cem\u003eF1 Heroes\u003c\/em\u003e just to meet the minimum, but that seemed like a waste of money. (Also, people don’t buy new magazines, so we’ve since been glad to skip the whole thing.) Anyway, \u003cem\u003eidea\u003c\/em\u003e is always good. And because it is largely in Japanese it is rarely seen in the States even though it’s a good one to buy because the pictures are totally worth it and one need not feel guilty about not reading it even though our phones can now largely translate anything. (Except Flemish. The other day we tried to translate something from Flemish on our phone and it didn’t work. We switch the settings to Dutch: No dice.) Anyway, a tremendous source of inspiration and cheaper than a flight to Japan. From the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49808600858864,"sku":null,"price":40.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Idea153.jpg?v=1780696419"},{"product_id":"westvaco-inspirations-for-printers-no-87","title":"Westvaco Inspirations for Printers, No. 87","description":"\u003cp\u003eLaunched in 1925 by the West Virginia Pulp and Paper Company, \u003cem\u003eWestvaco Inspirations for Printers\u003c\/em\u003e served as a premier promotional house organ showcasing paper stocks, ink capabilities, and diverse printing processes. Before Bradbury Thompson’s modernist art direction began in 1939, issues from the mid-1930s (like this one) functioned primarily as rich, eclectic trade anthologies. Rather than avant-garde typographic experimentation, these layouts prioritized traditional, commercial letterpress and offset lithography arrangements. While the covers are often off-puttingly unremarkable, inside they are loaded with contemporary advertising reproductions, classic engravings, and varied artistic styles to visually demonstrate technical print fidelity and paper performance for a nationwide audience of trade professionals. A neat thing from the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813098496240,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Westvaco87.jpg?v=1780757154"},{"product_id":"westvaco-inspirations-for-printers-no-94","title":"Westvaco Inspirations for Printers, No. 94","description":"\u003cp\u003eLaunched in 1925 by the West Virginia Pulp and Paper Company, \u003cem\u003eWestvaco Inspirations for Printers\u003c\/em\u003e served as a premier promotional house organ showcasing paper stocks, ink capabilities, and diverse printing processes. Before Bradbury Thompson’s modernist art direction began in 1939, issues from the mid-1930s (like this one) functioned primarily as rich, eclectic trade anthologies. Rather than avant-garde typographic experimentation, these layouts prioritized traditional, commercial letterpress and offset lithography arrangements. While the covers are often off-puttingly unremarkable (although we like the letters on this one), inside they are loaded with contemporary advertising reproductions, classic engravings, and varied artistic styles to visually demonstrate technical print fidelity and paper performance for a nationwide audience of trade professionals. A neat thing from the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813105574128,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Westvaco94.jpg?v=1780757532"},{"product_id":"westvaco-inspirations-for-printers-no-96","title":"Westvaco Inspirations for Printers, No. 96","description":"\u003cp\u003eLaunched in 1925 by the West Virginia Pulp and Paper Company, \u003cem\u003eWestvaco Inspirations for Printers\u003c\/em\u003e served as a premier promotional house organ showcasing paper stocks, ink capabilities, and diverse printing processes. Before Bradbury Thompson’s modernist art direction began in 1939, issues from the mid-1930s (like this one) functioned primarily as rich, eclectic trade anthologies. Rather than avant-garde typographic experimentation, these layouts prioritized traditional, commercial letterpress and offset lithography arrangements. While the covers are often off-puttingly unremarkable (although this one has a nice illustration by T.M. Cleland), inside they are loaded with contemporary advertising reproductions, classic engravings, and varied artistic styles to visually demonstrate technical print fidelity and paper performance for a nationwide audience of trade professionals. A neat thing from the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813108719856,"sku":null,"price":20.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Westvaco96.jpg?v=1780758214"},{"product_id":"print-vol-8-no-5-a-new-england-number","title":"Print, Vol. 8, No. 5 (A New England Number)","description":"\u003cp\u003eEarly issues of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eare hard to find. They’re not necessarily hard to come by, but have you ever tried googling\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eprint?\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eOr entered\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eprint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003einto a library database? It’s pointless. When doing research, we often come across references to old articles in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethat would be terribly useful for whatever we’re studying—and that makes sense. When it started way back in 1940, it was\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ethe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ejournal of graphic design in the States, a curious hybrid of printing history, graphic design, and printmaking, when all three of those pursuits were carried out by men in white shirts and ties. The contents are varied and not all of the work has held up over time. But every once in a while you’ll have a question about one obscure thing or another, and there’s probably an article in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethat’ll point you in the right direction—and this one is from the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813130477808,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Print8-5.jpg?v=1780758900"},{"product_id":"print-vol-8-no-3","title":"Print, Vol. 8, No. 3","description":"\u003cp\u003eEarly issues of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eare hard to find. They’re not necessarily hard to come by, but have you ever tried googling\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eprint?\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eOr entered\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eprint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003einto a library database? It’s pointless. When doing research, we often come across references to old articles in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethat would be terribly useful for whatever we’re studying—and that makes sense. When it started way back in 1940, it was\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ethe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ejournal of graphic design in the States, a curious hybrid of printing history, graphic design, and printmaking, when all three of those pursuits were carried out by men in white shirts and ties. The contents are varied and not all of the work has held up over time. But every once in a while you’ll have a question about one obscure thing or another, and there’s probably an article in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethat’ll point you in the right direction—and this one is from the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813152792816,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Print8-3.jpg?v=1780759677"},{"product_id":"print-vol-15-no-5","title":"Print, Vol. 15, No. 5","description":"\u003cp\u003eCopies of\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eare hard to find. They’re not necessarily hard to come by, but have you ever tried googling\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eprint?\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003eOr entered\u003cspan\u003e \u003c\/span\u003e\u003cem\u003eprint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003einto a library database? It’s pointless. When doing research, we often come across references to old articles in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethat would be terribly useful for whatever we’re studying—and that makes sense. When it started way back in 1940, it was\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ethe\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ejournal of graphic design in the States, a curious hybrid of printing history, graphic design, and printmaking, when all three of those pursuits were carried out by men in white shirts and ties. The contents are varied and not all of the work has held up over time. But every once in a while you’ll have a question about one obscure thing or another, and there’s probably an article in\u003cspan\u003e \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e \u003c\/span\u003ethat’ll point you in the right direction—and this one (with a cover by Ladislav Sutnar) is from the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813183758576,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Print15-5.jpg?v=1780760883"},{"product_id":"awards-luncheon-menu-onofrio-paccione","title":"Awards Luncheon Menu (Onofrio Paccione)","description":"\u003cp\u003eThere are many reasons it’s great to get things from Steven Heller. The top reason is that he has great things. The second-top reason is that when we’re lucky, he’s written about an item, and it saves us a lot of work. He’s written about this particular item in \u003cem\u003ePrint\u003c\/em\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/the-daily-heller-is-the-fish-fresh-yeah-right\/\" target=\"_blank\"\u003eJuly 30, 2021\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eEven as a Jewish kid, dinner on Friday was always fish (though not always fresh). This has little to do with anything design-y, except today is Friday and yesterday I stumbled across this c. 1970s menu for what I believe was an Art Directors Club Awards luncheon. Although no fish was served, the food transcended the rubber chicken variety common at these luncheons and dinners (although it could have been a rubber capon leg).\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eMore to the point of today's post is the simple, eloquent and downright perfect design of the menu by Onofrio Paccione, a 1992 inductee into the Art Directors Club Hall of Fame who, at 25, was the head art director of Grey Advertising. The menu exemplifies the witty big and small ideas that were invested in making the ad profession during the Creative Revolution such an extraordinary period.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eFeast your eyes and wrap your head around how no-frills smart this concept and execution were. Bon appetit!\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813204599024,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/AwardsLuncheonMenu.jpg?v=1780761671"},{"product_id":"exakta-vol-2-no-2","title":"Exakta, Vol. 2, No. 2 (Leo Lionni)","description":"\u003cp\u003eThere are many reasons it’s great to get things from Steven Heller. The top reason is that he has great things. The second-top reason is that when we’re lucky, he’s written about an item, and it saves us a lot of work. He’s written about this particular publication in \u003cem\u003ePrint\u003c\/em\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/the-daily-heller-mid-century-magamodern-design\/\" target=\"_blank\" rel=\"noopener\"\u003eSeptember 13, 2021\u003c\/a\u003e:\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eThe Exakta Camera Company in Bronxville, NY, was the North American importer and distributor of the Exakta line made by Ihagee in Dresden, Germany. Part of the USSR zone after World War II, the enterprise published and distributed \u003cem\u003eExakta\u003c\/em\u003e magazine for free to camera owners until 1953, when they began selling it.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eThis was a gem, a rare find in the periodical design pantheon. Early issues of the magazine were designed by Midcentury Modernists, including Leo Lionni (in a Constructivist-inspired style), Alexey Brodovitch (employing his signature experimental approach), Ernst Reichl (known as a book designer) and David Sala (who is unknown to me).\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eWith the exception of Brodovitch's issue, showing an abstracted photo of a couple doing exercises, the interiors were fairly practical and commonplace and did not live up to the promise of the covers. Eventually, the magazine was transformed into a dealer buyer's guide with trite, cute cover images. But for a brief moment, modern design triumphed.\u003c\/p\u003e\n\u003cp\u003eThis particular issue was designed by Leo Lionni.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813312012528,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Exakta.jpg?v=1780766299"},{"product_id":"communication-arts-vol-12-no-6","title":"Communication Arts, Vol. 12, No. 6","description":"\u003cp\u003eFounded in 1959 by Richard Coyne and Robert Blanchard, \u003cem\u003eCommunication Arts\u003c\/em\u003e (\u003cem\u003eCA\u003c\/em\u003e) is the a trade journal for visual communication. You probably already knew that. Originally debuting as the \u003cem\u003eJournal of Commercial Art\u003c\/em\u003e, it famously became the first U.S. magazine printed via offset lithography. (We mention that in case you were keeping track.) Based in California, the publication comprehensively covers graphic design, advertising, photography, illustration, typography, and interactive media. Here’s an issue from 1971. The pic of the table of contents (and all the following pics) will give a good sense of what the issue was about. But if you like telephones and trademarks, this one’s for you.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813466218736,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/CommunicationArts.jpg?v=1780767254"},{"product_id":"freedom-of-the-american-road","title":"Freedom of the American Road (Bradbury Thompson)","description":"\u003cp\u003eThere was a time when selling cars involved selling the country. People needed to be sold on the idea that there was more to see and a reason to see it. This was published by the Ford Motor Company to pitch the open road and address its perceived problems. We don’t actually love driving, but we’re sold on the design by a young(ish) Bradbury Thompson (He was 45 when this was published.) and Nelson Gruppo. A weirdly uncommon item from the collection of Steven Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":49813864743152,"sku":null,"price":50.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/FreedomOfTheAmericanRoad.jpg?v=1780774151"}],"url":"https:\/\/ksmallgallery.com\/collections\/steven-heller-collection.oembed","provider":"Katherine Small Gallery","version":"1.0","type":"link"}