Steven Heller has habitually tried to put art and design into neat categories. Yet, as he gets older (maybe wiser), he realizes that Milton Glaser is right. The bucket-concept is not realistic. Art is about growth not limitation. And style is just a surface manifestation of many options available to us all.
Steven Heller has always had a soft spot in his heart for Brownjohn, Chermayeff & Geismar's vibrating typeface that was used for the Electric Circus poster.
In 1948, designer, typographer and illustrator Thomas Maitland Cleland gave a talk on the nature of "'Progress' in the Graphic Arts." Here, Heller reproduces the printed version as an example of design criticism before the age of design criticism.
"The Art of Rolling Stone," an all-day event in New York, brings together the people who created a design legacy. Heller spoke to its organizer about the historical significance of this half-century old anti-institution institution.
This is the year to look back at 1968 when the counter culture made its mark and almost the same year lost its impact. Heller has decided to revisit this past that defined his own life and career. Here, you'll find an excerpt from a recent talk he gave a The Type Director's Club...
The fusion of influences in Ryan McGinness' paintings, prints, sculptures and installations establishes his unique language as a multi-faceted reflection of contemporary visual culture. Heller talks to him about the place his new work has in his overall blurring of the lines between art and design languages.
Jack Summerford recently found this beautifully designed piece, which carries with it a certain sad resonance today and was originally gifted to Stanley Marcus (of Neiman Marcus) and his wife by Texas screenwriter Bill Wittliff.
R. Roger Remington has already published a book on designer Will Burtin, whose intellectual and creative powers allowed him to function on an epic scale; a new volume to be published by Unit Editions is now in the Kickstarter fundraising process. Heller talked to Remington about the advantages of this new volume.
The 1930 German manual titled How To Design A Career provided commercial artists all the tips they needed to know to become a solid working one in pre-Hitler Germany. Published in four volumes, the samples here come from the book on designing letterheads, billheads and logos.
A new film, How To Steal A Chair, follows 72-year-old Stergios Delialis as he realizes he has become a ghost in his own life and contemplates parting with his collection. Meanwhile, he undertakes to produce a retrospective of his own design work in the building of his lost museum.