{"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":"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":"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":"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":"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":false}],"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":false}],"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":"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-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":"ticket-and-show-card-designing","title":"Ticket and Show Card Designing","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/it-s-national-drawing-night\/\" rel=\"noopener\" target=\"_blank\"\u003eSeptember 30, 2011\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan\u003eDrawing is the essential language and skill of visual art, regardless of medium. Tonight let’s celebrate drawing as skill and technique, expression and creation. Here are a few pages from one of my favorite Showcard instruction books.\u003c\/span\u003e\u003c\/p\u003e\n\u003cp\u003e\u003cspan\u003eApparently he didn’t actually have much to write about this back in 2011. So, let us write this on August 15, 2026:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan\u003eThis looks kinda boring—but only until we actually look. There are some wild alphabet, letters, and ideas in this one. And if you ever get a ticket job, this could come in handy.\u003c\/span\u003e\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50262973513968,"sku":null,"price":60.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/TicketAndShowcardDesigning.jpg?v=1786805533"},{"product_id":"syllabaire-des-oiseaux-du-pays-abc-grand-duc","title":"Syllabaire des Oiseaux du Pays: ABC Grand Duc","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say in \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/birds-of-a-letter-turkey-day\/\" target=\"_blank\" rel=\"noopener\"\u003eNovember 2014\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eTo celebrate turkey day, let’s look at some other, non-edible fowl. These birds of a letter, representing indigenous oiseaux of France, introduced children to their ABCs but also to the aviary of la belle France. Printed on porous newsprint, these Epinal illustrations lulled children into learning about type at a formative age. Happy Thanksgiving.\u003cspan\u003e\u003c\/span\u003e\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50262996058352,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/ABCGrandDuc.jpg?v=1786806675"},{"product_id":"history-of-labels","title":"History of Labels","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eCalling all labelloternists. This one’s for you. It’s a history of labels with a record of the past developed in the search for the origins of the industry. From the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50262998974704,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/History-of-Labels.jpg?v=1786807285"},{"product_id":"affiche-no-6-6-93","title":"Affiche (No. 6, 6\/93)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThe diversity of posters reflects the richness of countries and their cultures. In this issue, Danish posters hit the eye with clear, modern colors and the new English poster designers display their mastery of subtlety in word and image. We take you on a journey through the poster world of Mexico and contemporary Cuba and make a brief excursion into the history of the totalitarian state with Italian Fascist posters. Steve Heller wrote about the Italian Fascist posters—and this was his copy.\u003cbr\u003e\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263107633392,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Affiche.jpg?v=1786809122"},{"product_id":"bush-vs-chiraq","title":"BUSH vs. CHIRAQ (Dan Reisinger)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eIn 2003, celebrated Israeli graphic designer \u003ca href=\"https:\/\/danreisinger.com\/\" target=\"_blank\" rel=\"noopener\"\u003eDan Reisinger\u003c\/a\u003e prepared this suite of five cards to illustrate and protest the buildup to and continuation of the second Gulf War after September 11. His site makes no reference to them and the internet does not acknowledge their existence, but they are smart examples of portable protest graphics from the collection of Steve Heller.\u003cbr\u003e\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263171596528,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/BushvIraq.jpg?v=1786810192"},{"product_id":"protect-yourself-venereal-disease-posters-of-world-war-ii","title":"Protect Yourself: Venereal Disease Posters of World War II","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\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\/birds-of-a-letter-turkey-day\/\" rel=\"noopener\" target=\"_blank\"\u003e\u003c\/a\u003eJuly 15, 2014:\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eRyan Mungia is the proprietor of the BOYO Press in Los Angeles and an archivist par excellence. The first venture into print publishing, \u003cem\u003eProtect Yourself: Veneral Disease Posters of World War II\u003c\/em\u003e, sheds light in the shadows of wartime behavior. VD left unchecked could decimate an army. During World War I “an amazing 18,000 American military were incapacitated by sexually transmitted disease each day,” writes Jim Heimann in his introductory essay. But owing to better medicines and sulfa drugs, and an intense anti-VD propaganda campaign, by the height of World War II that number decreased to around 600 per day.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eWhether or not graphic design can cure many ills, the posters in \u003cem\u003eProtect Yourself\u003c\/em\u003e are hard to ignore. Mungia uncovered some well known, but many unknown examples of this anti-scourge material. Although aimed at men who hire prostitutes, there are some that target “girl friends.” Interestingly, none of the posters warn against same sex liaisons.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263207510256,"sku":null,"price":60.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/ProtectYourself.jpg?v=1786810940"},{"product_id":"stars-stripes","title":"Stars \u0026 Stripes","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\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\/birds-of-a-letter-turkey-day\/\" rel=\"noopener\" target=\"_blank\"\u003e\u003c\/a\u003eAugust 1, 2018:\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eThanks to Henry Brimmer I recently was reintroduced to the 1987 book \u003cem\u003eStars \u0026amp; Stripes\u003c\/em\u003e by Kit Hinrichs, his first book celebrating the flag he holds so dear. This first wave includes the work of 96 designers and illustrators with a brief forward by yours truly. [Above] are some graphic and text materials related to and from the book. It reminds us that despite its many flaws, the grand old flag still represents a grand old system, that is worth saving, so vote, vote, vote this November.\u003c\/p\u003e\n\u003cp\u003eLoaded with work by Samuel N. Antupit, Milton Glaser, Seymour Chwast, Massimo Vignelli, Saul Bass, and Louise Fili.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263271899376,"sku":null,"price":20.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Stars-and-Stripes.jpg?v=1786811528"},{"product_id":"pretty-vacant-the-graphic-language-of-punh","title":"Pretty Vacant: The Graphic Language of Punk","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eThis thing is so punk that we can’t find any copies anywhere. It’s the catalogue from an exhibition surveying the extraordinary diversity of punk and post-punk graphic design. It features loads of posters, flyers, fanzines, handbills, record sleeves, and other graphic ephemera. From the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263346675952,"sku":null,"price":180.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/PrettyVacant.jpg?v=1786812264"},{"product_id":"phoenix-flame-3","title":"Phoenix Flame (Blaze 26, Spark 3)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/corporate-generosity\/\" rel=\"noopener\" target=\"_blank\"\u003eAugust 10, 2014\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eCorporations that understand “It’s good business not to be too business-like all the time” are rare. But that was the stated belief of the Phoenix Metal Cap Co. (Chicago and Brooklyn) in their unique in-house magazine, \u003cem\u003ePhoenix Flame\u003c\/em\u003e, published monthly (duration unknown). Its editor, who went by the name of HIG, was assisted by illustrator\/designer Elmer Jacobs (covers below) and was a delightful anomaly in the worlds of big business.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e“Hard facts can sometimes be spoken in a soft voice,” HIG notes in issue (or what is called “Spark”) #8. “\u003cem\u003ePheonix Flame\u003c\/em\u003e has always tried to soft pedal the commercial. Thus this issue—like those before and those to come—is sent to you, not to beat you over the head with sales messages, but to say ‘Hello’ in type.”\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003eA dab of history: In 1905 the Safe Glass Co. merged with the J. A. Landsberger Co., a metal cap manufacturer in San Francisco, to form the Hermetic Closure Co. Glass making operations were discontinued and the new company moved to Chicago. A merger with the Phoenix Cap Co. of New York in 1911 formed the Phoenix-Hermetic Co. Phoenix-Hermetic pioneered in closure design, capping machinery, cap sealing, metal forming and lithography.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eInnovations included the development of the modern continuous thread (CT) cap in 1922. In an effort to better describe the business, the company changed its name in 1932 to The Phoenix Metal Cap Company. The company continues today, with locations in Illinois, Tennessee, Iowa, Indiana and Ontario, Canada.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263525884144,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/PhoenixFlame3.jpg?v=1786815492"},{"product_id":"phoenix-flame-blaze-25-spark-6","title":"Phoenix Flame (Blaze 25, Spark 6)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/corporate-generosity\/\" rel=\"noopener\" target=\"_blank\"\u003eAugust 10, 2014\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eCorporations that understand “It’s good business not to be too business-like all the time” are rare. But that was the stated belief of the Phoenix Metal Cap Co. (Chicago and Brooklyn) in their unique in-house magazine, \u003cem\u003ePhoenix Flame\u003c\/em\u003e, published monthly (duration unknown). Its editor, who went by the name of HIG, was assisted by illustrator\/designer Elmer Jacobs (covers below) and was a delightful anomaly in the worlds of big business.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e“Hard facts can sometimes be spoken in a soft voice,” HIG notes in issue (or what is called “Spark”) #8. “\u003cem\u003ePheonix Flame\u003c\/em\u003e has always tried to soft pedal the commercial. Thus this issue—like those before and those to come—is sent to you, not to beat you over the head with sales messages, but to say ‘Hello’ in type.”\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003eA dab of history: In 1905 the Safe Glass Co. merged with the J. A. Landsberger Co., a metal cap manufacturer in San Francisco, to form the Hermetic Closure Co. Glass making operations were discontinued and the new company moved to Chicago. A merger with the Phoenix Cap Co. of New York in 1911 formed the Phoenix-Hermetic Co. Phoenix-Hermetic pioneered in closure design, capping machinery, cap sealing, metal forming and lithography.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eInnovations included the development of the modern continuous thread (CT) cap in 1922. In an effort to better describe the business, the company changed its name in 1932 to The Phoenix Metal Cap Company. The company continues today, with locations in Illinois, Tennessee, Iowa, Indiana and Ontario, Canada.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263575953648,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/PhoenixFlame6.jpg?v=1786817037"},{"product_id":"phoenix-flame-blaze-25-spark-7","title":"Phoenix Flame (Blaze 25, Spark 7)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/corporate-generosity\/\" rel=\"noopener\" target=\"_blank\"\u003eAugust 10, 2014\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eCorporations that understand “It’s good business not to be too business-like all the time” are rare. But that was the stated belief of the Phoenix Metal Cap Co. (Chicago and Brooklyn) in their unique in-house magazine, \u003cem\u003ePhoenix Flame\u003c\/em\u003e, published monthly (duration unknown). Its editor, who went by the name of HIG, was assisted by illustrator\/designer Elmer Jacobs (covers below) and was a delightful anomaly in the worlds of big business.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e“Hard facts can sometimes be spoken in a soft voice,” HIG notes in issue (or what is called “Spark”) #8. “\u003cem\u003ePheonix Flame\u003c\/em\u003e has always tried to soft pedal the commercial. Thus this issue—like those before and those to come—is sent to you, not to beat you over the head with sales messages, but to say ‘Hello’ in type.”\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003eA dab of history: In 1905 the Safe Glass Co. merged with the J. A. Landsberger Co., a metal cap manufacturer in San Francisco, to form the Hermetic Closure Co. Glass making operations were discontinued and the new company moved to Chicago. A merger with the Phoenix Cap Co. of New York in 1911 formed the Phoenix-Hermetic Co. Phoenix-Hermetic pioneered in closure design, capping machinery, cap sealing, metal forming and lithography.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eInnovations included the development of the modern continuous thread (CT) cap in 1922. In an effort to better describe the business, the company changed its name in 1932 to The Phoenix Metal Cap Company. The company continues today, with locations in Illinois, Tennessee, Iowa, Indiana and Ontario, Canada.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263593582832,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/PhoenixFlame7.jpg?v=1786817789"},{"product_id":"phoenix-flame-blaze-25-spark-8","title":"Phoenix Flame (Blaze 25, Spark 8)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/corporate-generosity\/\" rel=\"noopener\" target=\"_blank\"\u003eAugust 10, 2014\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eCorporations that understand “It’s good business not to be too business-like all the time” are rare. But that was the stated belief of the Phoenix Metal Cap Co. (Chicago and Brooklyn) in their unique in-house magazine, \u003cem\u003ePhoenix Flame\u003c\/em\u003e, published monthly (duration unknown). Its editor, who went by the name of HIG, was assisted by illustrator\/designer Elmer Jacobs (covers below) and was a delightful anomaly in the worlds of big business.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e“Hard facts can sometimes be spoken in a soft voice,” HIG notes in issue (or what is called “Spark”) #8. “\u003cem\u003ePheonix Flame\u003c\/em\u003e has always tried to soft pedal the commercial. Thus this issue—like those before and those to come—is sent to you, not to beat you over the head with sales messages, but to say ‘Hello’ in type.”\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003eA dab of history: In 1905 the Safe Glass Co. merged with the J. A. Landsberger Co., a metal cap manufacturer in San Francisco, to form the Hermetic Closure Co. Glass making operations were discontinued and the new company moved to Chicago. A merger with the Phoenix Cap Co. of New York in 1911 formed the Phoenix-Hermetic Co. Phoenix-Hermetic pioneered in closure design, capping machinery, cap sealing, metal forming and lithography.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eInnovations included the development of the modern continuous thread (CT) cap in 1922. In an effort to better describe the business, the company changed its name in 1932 to The Phoenix Metal Cap Company. The company continues today, with locations in Illinois, Tennessee, Iowa, Indiana and Ontario, Canada.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263596466416,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/PhoenixFlame8.jpg?v=1786817983"},{"product_id":"phoenix-flame-blaze-25-spark-9","title":"Phoenix Flame (Blaze 25, Spark 9)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/corporate-generosity\/\" rel=\"noopener\" target=\"_blank\"\u003eAugust 10, 2014\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eCorporations that understand “It’s good business not to be too business-like all the time” are rare. But that was the stated belief of the Phoenix Metal Cap Co. (Chicago and Brooklyn) in their unique in-house magazine, \u003cem\u003ePhoenix Flame\u003c\/em\u003e, published monthly (duration unknown). Its editor, who went by the name of HIG, was assisted by illustrator\/designer Elmer Jacobs (covers below) and was a delightful anomaly in the worlds of big business.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e“Hard facts can sometimes be spoken in a soft voice,” HIG notes in issue (or what is called “Spark”) #8. “\u003cem\u003ePheonix Flame\u003c\/em\u003e has always tried to soft pedal the commercial. Thus this issue—like those before and those to come—is sent to you, not to beat you over the head with sales messages, but to say ‘Hello’ in type.”\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003e\u003cspan style=\"font-family: -apple-system, BlinkMacSystemFont, 'San Francisco', 'Segoe UI', Roboto, 'Helvetica Neue', sans-serif; font-size: 0.875rem;\"\u003e\u003c\/span\u003eA dab of history: In 1905 the Safe Glass Co. merged with the J. A. Landsberger Co., a metal cap manufacturer in San Francisco, to form the Hermetic Closure Co. Glass making operations were discontinued and the new company moved to Chicago. A merger with the Phoenix Cap Co. of New York in 1911 formed the Phoenix-Hermetic Co. Phoenix-Hermetic pioneered in closure design, capping machinery, cap sealing, metal forming and lithography.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eInnovations included the development of the modern continuous thread (CT) cap in 1922. In an effort to better describe the business, the company changed its name in 1932 to The Phoenix Metal Cap Company. The company continues today, with locations in Illinois, Tennessee, Iowa, Indiana and Ontario, Canada.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263600890096,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/PhoenixFlame9.jpg?v=1786818148"},{"product_id":"penman-s-art-journal-volume-23-no-5","title":"Penman’s Art Journal (Volume 23, No. 5)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/write-good-english-penmanship\/\" target=\"_blank\" rel=\"noopener\"\u003eJuly 3, 2014\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003ePenmanship is a thing of the past. But in the late 19th and early 20th centuries, penmanship and letter drawing was the society and business standard. The \u003cem\u003ePenman’s Art Journal\u003c\/em\u003e is one of many platforms “devoted to writing, drawing, designing, etc.” and it was replete with all the handy tips and tools needed to show the penman’s art.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263606624496,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/PenmansArtJournal.jpg?v=1786818462"},{"product_id":"ucla-extension-summer-1990-bradbury-thompson","title":"UCLA Extension (Summer 1990) (Bradbury Thompson)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eIn 1990. the UCLA Extension started inviting celebrated designers to work on the covers for their course catalogues. \u003ca href=\"https:\/\/ksmallgallery.com\/products\/ucla-extension-winter-quarter-begins-january-6-1990-paul-rand\"\u003eAnd here’s a nice poster.\u003c\/a\u003e But we’re talking about the course catalogues right now. Or, at least this one by Bradbury Thompson. It’s a striking design and between the covers there’s a profile of Thompson and an info about ordering the cover as a poster. Potentially even more interesting, though, are the descriptions offered on commercial art and computer graphics. It’s a pretty fascinating look back at what was being offered just as the personal computer was becoming our standard tool. Although the cover has been reproduced often, it’s rare to find then actual thing in real life. From the collection of Steve Heller.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263618453744,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/UCLAExtension.jpg?v=1786819717"},{"product_id":"chank-fonts-catalogue-25","title":"Chank fonts! (Catalogue # 25)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eWe don’t know everything. For instance, one thing we didn’t know is that there were twenty-four catalogues of fonts from Chank Diesel before this one. And we didn’t even know about this one until we got it from Steve Heller. The internet doesn’t seem to acknowledge these catalogues. And we couldn’t find much much on WorldCat. Still it’s an interesting showcase of limit-pushing and rule-breaking.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263631954160,"sku":null,"price":60.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/ChankFonts.jpg?v=1786820677"},{"product_id":"design-quarterly-118-119-meanings-of-modernism","title":"Design Quarterly 118, 119: Meanings of Modernism","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003eWhat is the meaning of Modernism? Or, put another way: What are the \u003cem\u003emeanings\u003c\/em\u003e of Modernism? The subtitle suggests that form, function, and metaphor are involved (but they don’t use the Oxford comma like we do. Being modernists, the editors probably think less is more). This issue is more about architecture than graphic design in that it is not about graphic design at all. But it comes from the collection of Steve Heller, so that’s close enough for this place.\u003cbr\u003e\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263671505136,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/DQ118-119.jpg?v=1786823018"},{"product_id":"illustration-63-heft-2-1983","title":"Illustration 63 (Heft 2, 1983)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/the-daily-heller-a-magazine-that-put-illustration-first\/\" target=\"_blank\" rel=\"noopener\"\u003eJuly 29, 2025\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eWhile looking through boxes of magazines, I recalled recieving \u003cem\u003eIllustration 63: Zeitshrift Für Die Buchillustration\u003c\/em\u003e (1978–2000), published by Edition Kurt Visel and meticulously edited by Visel. It covered the woodcut, linocut, engraving, and black and white line world of fine book printing.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eEach and every issue was printed entirely letterpress, including the generous number of illustrations shown inside. In a pocket the back of the “book” were four original, signed and numbered prints by artists appearing in the issue. \u003cem\u003eIllustration 63\u003c\/em\u003e was classically designed but with a dynamism all its own. Each issue was individually numbered. The artists featured were little known in the U.S. and probably in Europe too. There were features in various issues on the engravers Fritz Eichenberg, Karl Rossler, A. Paul Weber and others I used in the \u003cem\u003eNY Times\u003c\/em\u003e. These were among the conceptual illustrators. Many were not idea driven at all. But the craft was to be admired. It was only in German and no computer translators were in use by 2000. I savored the art itself, although except for the three mentioned above, I had no past or present knowledge of the artists’ lives and work. It was an occasion when I wished I had studied German in high school.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eThen, all of a sudden, without warning, the regular bimonthly issues stopped arriving by post. Presumably, publishing a letterpress niche arts magazine was not sustainable.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263686742256,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Illustration63.jpg?v=1786823814"},{"product_id":"illustration-63-heft-2-1990","title":"Illustration 63 (Heft 2, 1990)","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/the-daily-heller-a-magazine-that-put-illustration-first\/\" target=\"_blank\" rel=\"noopener\"\u003eJuly 29, 2025\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eWhile looking through boxes of magazines, I recalled recieving \u003cem\u003eIllustration 63: Zeitshrift Für Die Buchillustration\u003c\/em\u003e (1978–2000), published by Edition Kurt Visel and meticulously edited by Visel. It covered the woodcut, linocut, engraving, and black and white line world of fine book printing.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eEach and every issue was printed entirely letterpress, including the generous number of illustrations shown inside. In a pocket the back of the “book” were four original, signed and numbered prints by artists appearing in the issue. \u003cem\u003eIllustration 63\u003c\/em\u003e was classically designed but with a dynamism all its own. Each issue was individually numbered. The artists featured were little known in the U.S. and probably in Europe too. There were features in various issues on the engravers Fritz Eichenberg, Karl Rossler, A. Paul Weber and others I used in the \u003cem\u003eNY Times\u003c\/em\u003e. These were among the conceptual illustrators. Many were not idea driven at all. But the craft was to be admired. It was only in German and no computer translators were in use by 2000. I savored the art itself, although except for the three mentioned above, I had no past or present knowledge of the artists’ lives and work. It was an occasion when I wished I had studied German in high school.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eThen, all of a sudden, without warning, the regular bimonthly issues stopped arriving by post. Presumably, publishing a letterpress niche arts magazine was not sustainable.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263724359920,"sku":null,"price":30.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Illustration63A.jpg?v=1786824882"},{"product_id":"simplicissimus-the-art-of-germany-s-most-influential-satire-magazine","title":"Simplicissimus: The Art of Germany’s Most Influential Satire Magazine","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/tom-wolfes-satiric-passion\/\" target=\"_blank\" rel=\"noopener\"\u003eMay 22, 2018\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eIn 1979 Tom Wolfe, who passed away last Monday at age 88, wrote the introduction for an exhibition catalog I produced (my first) about the German satiric magazine \u003cem\u003eSimplicissimus\u003c\/em\u003e (\u003cem\u003eder Simpl\u003c\/em\u003e). I owe so much to him for his generosity and enthusiasm on this project. I had learned that he was a der Simpl fan. In fact, he was a cartoonist as well, working in the der Simpl style (a combination of many talented graphic commentators). Shortly after the exhibit he published his own anthology of cartoon images, \u003cem\u003eIn Our Time\u003c\/em\u003e.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eI am certain that having his imprimatur helped get the exhibition its notice in \u003cem\u003eThe New York Times\u003c\/em\u003e. Although \u003cem\u003eTimes\u003c\/em\u003e chief art critic Hilton Kramer gave it a somewhat grudging review, it was still a feather to have the serious acknowledgement.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eWolfe was so enamored by the graphic eloquence of this singularly important, artist-run magazine, that the logo for his block association in Manhattan, which he designed, included a version of the Th Th Heine unchained bulldog (below), the symbol of \u003cem\u003eder Simpl’\u003c\/em\u003es rabid wit. You will also notice one of his own drawings on the second page of his introduction—a portrait with a nod to der Simpl as well and ever so slight resemblance to himself.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eThank you Tom for your unforgettable support (and sorry for the typos I missed in the proofreading).\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263748509936,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/Simplicissimus.jpg?v=1786826202"},{"product_id":"the-bauer-almanac-1940","title":"The Bauer Almanac 1939","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/type-in-the-nazi-state\/\" rel=\"noopener\" target=\"_blank\"\u003eOctober 11, 2015\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eAs one sees in leading type foundry advertisements found in design and printing magazines after 1933, the graphics professions quickly conformed to the decrees of the Nazi party. These ads focused on “volk” lettering (various iterations of Fraktur), ignoring the unsanctioned sans serif or modern faces.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eKlingspor and Bauer, two of the largest German type foundries, sold a large amount of the spiky black letter, although they tried hard to keep their wares from being politicized. This was quite apparent in the annual almanacs published as gifts to customers.\u003c\/p\u003e\n\u003cp\u003eAnd, FYI, this one is set in Elizabeth Friedlaender’s Elizabeth Roman and Italic types and the woodcuts are by Karl Vollmer.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263762632944,"sku":null,"price":30.0,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/TheBauerAlmanac1939.jpg?v=1786828078"},{"product_id":"klingsor-kalender-fur-das-jahr-1933","title":"Klingsor Kalender für das Jahr 1933","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/type-in-the-nazi-state\/\" rel=\"noopener\" target=\"_blank\"\u003eOctober 11, 2015\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eAs one sees in leading type foundry advertisements found in design and printing magazines after 1933, the graphics professions quickly conformed to the decrees of the Nazi party. These ads focused on “volk” lettering (various iterations of Fraktur), ignoring the unsanctioned sans serif or modern faces.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eKlingspor and Bauer, two of the largest German type foundries, sold a large amount of the spiky black letter, although they tried hard to keep their wares from being politicized. This was quite apparent in the annual almanacs published as gifts to customers. It’s interesting to see the vintage styling in the 1933 book compared with \u003ca href=\"https:\/\/ksmallgallery.com\/products\/klingsor-kalender-1929\"\u003ethe slightly more moderne 1929 edition\u003c\/a\u003e. Not a huge change, but subtle shifts in the weight of the lettering were probably responses to the new Chambers of Culture that governed everything from film to graphic design.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50263768301808,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/KlingsporKalender_1933.jpg?v=1786828841"},{"product_id":"klingsor-kalender-1929","title":"Klingsor-Kalender 1929","description":"\u003cp\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cmeta charset=\"utf-8\"\u003e\u003cspan\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 \u003c\/span\u003e\u003cem\u003ePrint\u003c\/em\u003e\u003cspan\u003e. Here’s what he had to say on \u003ca href=\"https:\/\/www.printmag.com\/daily-heller\/type-in-the-nazi-state\/\" rel=\"noopener\" target=\"_blank\"\u003eOctober 11, 2015\u003c\/a\u003e\u003c\/span\u003e\u003cspan\u003e:\u003c\/span\u003e\u003cbr\u003e\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eAs one sees in leading type foundry advertisements found in design and printing magazines after 1933, the graphics professions quickly conformed to the decrees of the Nazi party. These ads focused on “volk” lettering (various iterations of Fraktur), ignoring the unsanctioned sans serif or modern faces.\u003c\/p\u003e\n\u003cp style=\"padding-left: 40px;\"\u003eKlingspor and Bauer, two of the largest German type foundries, sold a large amount of the spiky black letter, although they tried hard to keep their wares from being politicized. This was quite apparent in the annual almanacs published as gifts to customers. It’s interesting to see the vintage styling in \u003ca href=\"https:\/\/ksmallgallery.com\/collections\/online\/products\/klingsor-kalender-fur-das-jahr-1933\"\u003ethe 1933 book\u003c\/a\u003e compared with the slightly more moderne 1929 edition. Not a huge change, but subtle shifts in the weight of the lettering were probably responses to the new Chambers of Culture that governed everything from film to graphic design.\u003c\/p\u003e\n\u003cp\u003eSomething Steve doesn’t mention, though, is that this one was illustrated by Willi Harwerth and is a total delight.\u003c\/p\u003e","brand":"S24H","offers":[{"title":"Default Title","offer_id":50270728847600,"sku":null,"price":100.0,"currency_code":"USD","in_stock":true}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/0003\/7040\/9508\/files\/KlingsporKalender_1929.jpg?v=1786994200"}],"url":"https:\/\/ksmallgallery.com\/collections\/steven-heller-collection.oembed?page=3","provider":"Katherine Small Gallery","version":"1.0","type":"link"}