In response to last week's post on the Auschwitz symbol of resistance—the upside-down 'B'—questions were raised whether it was deliberate or stylistic. Here, Heller discusses the evidence.
Heller savors everything about the Klimowski Poster Book by Andrezj Klimowski. Klimowski was a product of the Polish poster art tradition yet established his own methods and collagist madness.
Michael Rossum has been printing small collections of design artifacts for "The Closest Friends of Kat Ran Press" for a number of years. His most recent #7 is Designs on Shaw, a sweet little appreciation of interpretations of George Bernard Shaw's work.
Heller shares pages from Type Treasures: Schriften-Schatz, Eine Sammlung Praktischer Alphabete Für Berufszeige Aller Art (Fonts Treasure, a collection of Practical Alphabets for Professional Branches of All Kinds), a marvel of functional and aesthetic ornament.
If you were living in an American city such as Philadelphia or Pittsburgh in years past, one of the pleasures of picking up your Sunday color sections would be finding a "Complete Novel" in a tabloid format similar to the Funny Pages. Pretty interesting method of getting readership. But not that unusual.
As plastic pollution continues to advance, scientists predict that by 2030, more plastic than fish will float in the oceans. Here, Heller talks with Helmut Lange about a poster project intended to raise awareness and encourage sustainable thinking and behavior.
Find out why today the inverted 'B' has become a symbol of the horrors endured under Nazi insanity.
Polish design historian Dr. Piotr Rypson conceived a project that commemorates the 100th anniversary of the first Polish avant-garde exhibition of Polish Formists-Expressionists. The result? Four postage stamps with illustrative and typographic work represented by Poland's leading progressive artists.
Mark Holt and Hamish Muir conceived one of the most progressive type journals of the mid- to late 1980s: Octavo. Unit Editions has published a complete reprint of the issues as well as reproductions of the handmade mechanicals and proofs. Here, Heller talks with Holt and Muir about the magazine.
For those looking for the perfect wall hanging to accompany modern furniture in a 1930s home or apartment, the masterpieces were to be found in Paris. The enviable settings in a classic art deco manner shown here come from the Essex catalog (1934–35) printed by Dehon & Cie.