the letterhead. in my mind, it remains my most active collection. that is to say, if i see or am offered one, i usually buy it. the finite piece of paper—either eight and half by eleven or a4—gives me infinite pleasure. i never tire of looking at letterheads, albeit old ones. i recall while working in my second job in houston, texas, i had the opportunity to design a program for a company called milpark that made drilling products. ‘mud,’ in fact. i learned that ‘mud’ is a lubricant that aids in drilling for oil. the logotype was already set when i arrived, but the application had not yet been completed. the colors were black and red, and i happily set to work. i recall taking out my ruling pen, mixing red gouache and using a red rule for the design element. i went to town, working on it for a couple days. the creative director was a designer from cranbrook named craig minor. super great guy. (though he fired me after six months, a story for another time.) this was the feeling-out process for the new designer: a simple project with narrow constraints. after a few days, i pinned all the designs up in the conference room. they filled a whole wall. i remember craig coming in and being a bit surprised. i had done very little editing. hell, i was having fun. i didn’t care about the client, i just loved moving that little red rule around the page. the letterheads i’m sharing from my collection use the square much more successfully than i used my red rule. these designs by max huber are from the 60s or 70s, i believe, though i’m not sure. my apologies, as i do not have access to my reference books to check if these letterheads are included. they were bought at auction along with a pile of other items by max huber. i have always enjoyed the a4 format over the u.s. format. the slightly narrow vertical just seems right. there is an art to placing something on a piece of blank paper. i recall the 2d assignments of my freshman year. a small black square on a ten-inch white square. then, in the spring semester, learning in art history about the story of two squares. i even use this image as my skype picture. (yes, I carry design way too far). the swiss style is always comforting to me. i love the order. i love the simplicity. everything has its place, and moving anything on the page changes it altogether. it was obvious when i made my presentation to craig that my designs did not have this sense of completeness or uniformity. i was learning then. i still am.