Collection: Architectural Forum Magazine


Some faves from my collection of 60s and 70s era Architectural Forum magazine. The covers are so graphic and beautiful. For more covers and a nice, concise history of the magazine, visit Codex99.

Goodbye to 2017

Thank you to all the clients we worked with in 2017 for making it a year full of creative, satisfying work and great relationships. Looking forward to more great collaborations in 2018.

Holiday Gift Ideas for Designers

Really, this is just my Christmas List disguised as a blog post. But perhaps there are other people out there shopping for designers who could benefit from this list of designerdy items.

↑ Moo Gift Certificate
Designers love to print! Here’s an excuse for them to act on that funky sticker idea they’ve had rattling around in the back of their head. Or a kick in the pants to finally get some new business cards.

Get it →

Expand to read full post

↑ Present and Correct
This shop is a wonderland of the kind of oddball ephemera and office supplies designers love. One of the old Russian type specimens above adorns a wall at Hazen Creative HQ, but there’s tons more to explore here.

Check it out →

↑ My Favorite Sketchbook
We’ve used up so, so many of these simple, inexpensive spiral-bound sketchbooks. They come in a ton of colors, and the 5.5″ x 8.5″ size is our favorite, as is the spiral bound, which lays flat and makes sketching on the go (and scanning!) much easier. It’s readily available a lot of places, though I’ve been getting mine at Blick. The link below will take you to Amazon.

Get it →

↑ Ortho Desktop Organizer
This Etsy find from Portland maker Matthew Bietz is available in red, yellow, or white powder coated steel.

Get it →

↑ Arrow Hooks
Designers love arrows! Designers have coats! Finally a way to bring those two things together!

Get it →

↑ Typographic Bookends
The designer on your list almost certainly has books spilling off the shelves all over their house. Help them keep those cherished tomes upright! And will a typographic flourish they’ll appreciate. A few to choose from!

Quote bookends →
The End bookends →
X bookends →

↑ Knit Pillow Covers
Funky, geometric patterns knit with sustainable fibers.

Get it →

↑ Line Phono Record Frame
Few designers can resist the allure of a great record sleeve. In fact, my record collection started well before I ever had a turntable, just out of appreciation for the artwork. There’s no shortage of frame options for LPs out there, but this is one of the nicer recent options. Not only is it nicely made, it allows easy access to the sleeve for playing or frequent art swapping. Bonus points if you give this with a killer cover already inserted!

Get it →

↑ Designy Tees
Limited edition tees from Cotton Bureau. A lot to look at here, but no surprise that my faves are the abstract geometric ones.

Get it →

Creative Friends: Chad Kouri

Each month, we ask 6 questions of a friend whose creative work we admire.

This month we’re featuring Chad Kouri, working artist and designer based in Chicago. Past and upcoming collaborators include The Museum of Contemporary Art Chicago, Studio Gang Architects, Poketo, The Pitchfork Review, IDEO, and The Ace Hotel.

1. How’d you end up doing what you’re doing now?

Well, my early interests were in typography and design, dating as far back as middle school. In college, I always had a handmade element to my work, whether that was photo collage or hand drawn typography. Teachers and students always asked me if I’d rather be in the art department.

Art production has always been this medicinal process for me, whether it was to just get off the computer for a while or to blow off some creative steam that had built up after doing a lot of creatively unfulfilling design work. In 2013 I decided to pivot a bit and focus more time on making artwork in the hopes that it would be an alternate source of income alongside my work as a graphic designer. Four years later, I’ve had some success in keeping a steady flow of art commissions coming into the studio. It’s allowed me to be a bit more picky about the kind of design work I do. I don’t imagine ever cutting out the design work all together as it informs my studio art practice and vice versa. At the moment I’m lucky to be making both designed pieces and fine art works for clients that I share a mutual respect with, and that’s been a tremendous privilege and honor. I can’t imagine it will always be this way, but I’ll take advantage of it as long as I can!



2. Describe a typical day.

On a good day, I don’t set an alarm. That is key to having a steady and productive work day for me. My work hours are generally between 11am-7pm, with the potential of having a “third shift” of computer time after dinner. What happens between eleven and seven varies greatly. I could be answering emails all day in the studio—like today—while waiting for a package to be delivered. I could be in the studio working on some cut paper pieces or works on canvas for an upcoming commission or exhibition. I could be running errands to the framer or the post office. I could be hitting an early evening music set somewhere or playing some music with my studio mate Andy Hall. I could be working on a branding project or book design for a cultural institution locally or elsewhere. The variety of work keeps my mind fresh and nimble. I can’t imagine it any other way.



3. What are you working on now that you’re most excited about?

I’m just about to wrap up a large commission for Ace Hotel Chicago that has been nearly 18 months in the making. These are large panels of hand dyed fabric that incorporate glyphs from my jazz movement study drawings from over the past eight years or so. (See below.) I worked with cornetist and local jazz historian Josh Berman in order to put together a playlist of 12 seminal jazz recordings from the Chicagoland area over the past 85 years. These tracks were listened to extensively while doing drawings—and collecting shapes and gestures from older drawings—to create a library of shapes to incorporate into the artwork. It’s been equally challenging as it has been fun and rewarding. In an ideal world, all my projects would be that way.



4. What have you done there that you’re most proud of?

I like how this project has allowed me to explore some new materials and processes while also investigating a grouping of work that is second nature to me at this point. I also really love that this project has given me the ability to hire artists and thinkers in my community and pay them appropriately for their time.


5. What would you most like to work on (fantasy or reality)?

I’ve been very interested in the idea of making public art lately, whether that is a painted two-dimensional work or a sculpture of some kind. I like the idea of Art living in unexpected places and serving a purpose other than just looking pretty. I’ve got a couple of concepts in the works, but no specific opportunities quite yet.


6. If you weren’t doing this, what would you want to be doing (fantasy or reality)?

I’ve always said if I was to go back to school I’d study mathematics. Currently working in a field that is overtly subjective, I love the pure fact of mathematics and physics. I’d also consider music performance as it has the same theoretical fact-based grounding to it as mathematics while still allowing for expression and freedom.

Chicagotype, Greatest Hits

Our good friend David Sieren, president of the AIGA Chicago chapter, told me about a talk they have coming up that is very near and dear to my heart: typography in Chicago. For years, I kept up a blog of images of typographic signage in Chicago. Here’s a small sampling of the several hundred images over at And if you happen to be in Chicago, check out the event the AIGA is putting on in October.


RGB: On-Screen Color
Screens (televisions, computers, and phones) create images from millions of little dots of red, green, and blue light. That’s the R, G, and B. Varying combinations of these R, G, and B dots can create almost any color and combine to create the colors and shapes in an image. Full strength of all three colors makes white (it is essentially all the colors in the spectrum at once or “white light”) and having none of the 3 colors present makes black (ie: no light=darkness).

RGB colors are specified with 3 numbers that indicate how much R, G, and B are present. Each number can be anywhere from 0 to 255 which represents the range each “dot” on the screen (which are each one “byte”) can display. Since black is none of the RGB colors, its value is 0, 0, 0. Conversely, white is all of them, so its value is 255, 255, 255. Pure red would be 255, 0, 0, etc. But making other colors doesn’t work quite like you’d imagine—for instance, adding a little blue to that red mix (255, 0, 100) does not create purple. That is what we expect because we think in terms of “Subtractive Color,” which is how physical colors (like the ink in CMYK printing) work—the physical surface is absorbing (subtracting) all of the wavelengths of light except the ones reflected back to our eyes. But light is “Additive,” meaning when different colors of light are added together, all those wavelengths reach our eyes, and what is registered is very different. The upshot is: on-screen colors can always be represented by some combo from 0 to 255 of each of the 3 RGB colors.

On-Screen Color Wild Card
There is one other way to describe on-screen colors, made prevalent thanks to HTML and web design. “Hex colors” are single 6 character (hence “hex”) alphanumeric identifiers for specific colors. The anatomy of these is not worth getting into, but a hex color code like #FFFF00 is just another name for RGB 255, 255, 0, or yellow.

CMYK: Printed Color

CMYK also uses the combination of its component colors to create a full range of perceived colors. Although CMYK is the printed equivalent. C=cyan (bright blue), M=magenta (deep pink), Y=yellow (appropriately), and K=black (inexplicably.) The varying sizes of dots in these colors are arranged in a careful “rosette” pattern when printed (rather than simply overlapping) which is imperceptible to the naked eye.

Below, you can see the “color separations”—each of the individual 4 colors that go into making up the image.

Like RGB, specific colors can also be described by a series of numbers/values for the amount of the C, M, Y, and K being put onto the paper. They’re indicated as a percentage—a light color uses a low percentage, where the dots have more of space between them. A darker color uses a high percentage, which is bigger dots or even a solid block of the color (for 100%). There are millions of combinations in between—a medium green might be 100% (solid) yellow combined with 50% cyan (medium-sized dots). It would be written as 100, 0, 50, 0.

Printed Color Wild Card
CMYK is the dominant form of printing these days, and is now much cheaper than it used to be. Fifteen years ago, it was still more common (and cost-effective) to print things as “1 color” or “2 color” when possible. That meant using “spot colors,” which are inks mixed to be the specific color you’re after—more like paints. If your logo used bright green, you might use the spot color Pantone 375. Certain industries still prefer spot colors—for example, if you’re putting your logo on a pen or a mug or a T-shirt. But it’s much less common these days, though we usually still specify a spot color on our logo guidelines because someone will probably ask for it at some point.

Animated Covers by Henning M. Lederer

A couple years back, Mr. Lederer got in touch to say he was animating a bunch of the 60s- and 70s-era books covers we showcase over at our blog Book Worship. The resulting animation was incredibly cool—see it here. And he just let us know he did a new one with covers sourced from another design-obsessive, Julian Montague.

The Urbanist in Seattle

We’ve been fortunate enough to have been designing SPUR’s magazine “The Urbanist” for years now. Every issue is a fun and interesting project. But when the editor, Allison Arieff, told us the June/July 2017 issue would be on Seattle, we jumped at the chance to pitch in a little more than usual. Shawn ran around town shooting images for the stories, including the cover image, which features a construction crane in front of the iconic Space Needle. (The issue heavily discusses the fact that Seattle is building new housing like crazy right now.)

The issue was also fortuitously timed as Shawn had just launched a new image blog featuring Brutalist Buildings in Seattle. Like his previous Chicago-centric site on the same theme, documents the area’s striking, if not universally-loved, concrete buildings. Allison suggested it would be a great subject for the “Field Notes” section of the magazine, which is a photo essay on a specific urban subject. It’s always our favorite piece to lay out each issue. Even more fun when it’s your own images.

Creative Friends: Eve Fineman

Each month, we ask 6 questions of a friend whose creative work we admire.

This month we’re featuring architect and designer Eve Fineman. She does everything from residential and commercial interiors to furniture and product design, and is a writer and professor, to boot.

1. How’d you end up doing what you’re doing now?

I have been interested in design, and particularly furniture and interiors, since I was 7 years old. I was inspired by a picture book I had called “The Fourteen Bears in Summer and Winter” by Evelyn Scott. In the book, each bear had a summer and winter home inside a tree trunk. The bears each had unique personalities, expressed through their choice of furnishings inside the tree. I studied the interior of each bear’s tree trunk for hours, trying to decide how the spaces related to their personalities, and which ones I liked best. Even then, I gravitated toward the modernist bear. He is clearly the coolest one!


2. Describe a typical day.

I often say I have never had the same day twice, with the one constant being coffee! This set-up is by design, as I thrive on having many variables thrown into my days, including teaching design studio at Columbia College Chicago, working on client projects, collaborating with other artists and designers, working on speculative pieces, entering competitions, programming design events, curating exhibitions, reading, class preparation and administrative work. So instead of describing a typical day, I will describe today:

I wake up, drink coffee, take my son to school, come home to eat breakfast and gather materials together for back-to-back meetings. I head over to an architect’s office with whom I am working on a couple of projects. I meet with the architect and project manager about a law office interior renovation that is in the punch-list phase, and then meet with the architect about a kitchen renovation project that is currently in for permit. I stop back at my home office to grab acrylic and a custom concrete mixture, and head down to school to meet with a student intern. We determine the best processes for making molds to produce packaging and a new base for our lamp (below), that is being shipped off to Italy in less than 2 weeks. I eat tacos, continue to work on the lamp redesign, and then go to a studio visit with textile designer Dee Clements, as part of the programming for the League of Women Designers (of which I am a member and co-programmer). After the studio visit, I will go to one of my favorite Chicago bars, Danny’s, to celebrate a friend’s birthday and dance to music spun by my friend Damon Locks. (I will also probably eat and drink during the last 2 parts).

P.S. My son is not still at school waiting for me.



3. What are you working on now that you’re most excited about?

I am working on a residential project for clients whom I have worked with for years. Our current project involves a very modern buildout of a garage roof deck, including an outdoor kitchen and modern hot tub, wood screens and movable louvers for overhead shade. It will be all custom and very cool, like a relaxing private outdoor room in the trees.


4. What have you done there that you’re most proud of?

I am most proud of my teaching accomplishments. Seeing so many of my talented former students contributing beautifully and successfully to the world of design is incredibly satisfying.


5. What would you most like to work on (fantasy or reality)?


Collaborate with an audio engineer to integrate sound components into furniture

Learn more about designing for production, as an outgrowth of my furniture prototypes and custom one-offs

Get back to metalsmithing and design a stylish chain for reading glasses (to solve a personal problem)

Begin a collaborative project investigating the intersection of furniture and fashion

Curate a traveling exhibition for the League of Women Designers

Design a small modern vacation home for myself!

On a more macro scale, I want to grow my business to a place where I am able to integrate all of the facets of design that I practice and love.


6. If you weren’t doing this, what would you want to be doing (fantasy or reality)?

Fantasy: Conduct design research in collaboration with a neuroscientist or neuropsychologist, to understand more fully the brain benefits of good design, from healing spaces to places of domesticity.

Collection: National Parks Brochures

Years ago, I took a massive solo road trip around the American Southwest. There’s a lot to see out there, and most of the big sights are National Parks, which means that with the price of admission came a copy of the well-designed brochure for that destination. Though they’ve changed a bit in recent years (a switch from Helvetica to Myriad, for example) they all adhered to the original, impressively-gridded system developed by Massimo Vignelli. The design accommodates anything a particular spot needs to convey, whether it’s a map, a montage of illustrated infographics, massive amounts of text—or all of the above. A design classic.

Thoughts on Brand Guidelines

The Guidelines Book

We often do full-blown brand guidelines “books” for our clients. Generally they’re for extensive branding programs with secondary visual graphics beyond the logo or for larger clients with a lot to cover. That might include numerous subbrands or extensive information beyond the visual brand—things like mission statements or requirements for writing in the “brand voice”. An example with all those things is shown above, which we did with IfNotNow for Fielday.

Sometimes when building a new brand, the guidelines document becomes an important (or the first) opportunity to establish the look and feel. A marketing manager might use this as a chance to lay out a new manifesto, while the designer may use it as a chance to work out the design ideas for the brand. But this isn’t the guidelines’ strong suit, since any attempt to give the designer or writer enough to sink their teeth into runs the risk of making the piece bloated or distracting.

Back in the day, there was a reason brand standards manuals were so fat. It was often necessary for vendors outside the organization to recreate the logo from scratch, or work with scant resources (hardcopy sheets of the logo were provided within the guidelines binder to literally be cut out and pasted into layouts, as seen to the left, via The Standards Manual). And those vendors had to implement the brand on their own with little information beyond what was detailed in the book. Those days are long gone. Not only do infinitely scalable digital files eliminate the need for elaborate diagrams showing the construction of the logo, they contain all necessary elements (like color and type) and are in universal formats suitable for everything from illuminated signs, to CMYK printing, to embroidery. And in the current connected world, there’s no reason to guess or interpret: someone with the answer or an example is only an email or a text away.

Of course, guidelines documents can still become lengthy—if a brand’s visuals include a lot of tricky graphic treatments or special customized text that require some “How To”-like sections, for example. Even a document covering just the core identity can get long, but we believe in keeping guidelines documents as succinct as possible. That said, below is evidence that we’re still suckers for a cool—if not strictly necessary—logo construction diagram, as long as it doesn’t make things tough for a vendor simply looking to find a CMYK value or an example of the logo in use.



The One-Pager

With this newfound ease of use, there are now more ways than ever for someone to implement a logo incorrectly—and more people capable of doing it. So there is definitely a need for some guidance. Luckily, in most cases, all the critical information can be conveyed in a pretty compact document. In fact, a one-pager should suffice for most brands just getting started. Not only does that make it easier to find important info, it means a guidelines document isn’t out of reach for a smaller client or a smaller budget.

We’ve become fans of the “cheat sheet” style illustrated here by the recent Girl Scouts redesign by OCD. It’s also become popular to imagine the one-sheet approach as a poster, like the two examples below. But expecting someone to hang this up anywhere in the office is unrealistic, so as long as it functions as an emailable PDF, it’s still effective. But the idea is sound: illustrate the core rules for correctly using the logo to maintain a strong brand. Introduce the logo and show its variations, the brand’s color breakdowns, and accompanying typography. These larger examples manage to squeeze in secondary graphics and some examples, too.

We recently established a very basic guidelines document that can be included with any logo we do. An example is below. It covers the essentials for using the logo without complicating the matter. We may find that it is too basic—perhaps merely saying what the “don’ts” are isn’t enough, and we actually need to show a stretched logo and a chrome-ified logo with slashes through them. But it feels like a useful document and can at least form the “v. 1” that a client can have fleshed out further down the road.

To see a random assortment of brand guideline examples we’ve gathered, visit our Pinterest page.

The Logo Design Process



We like to bring our clients into the logo design process earlier than most studios. After a good long talk about the client’s goals, we brainstorm a ton of possibilities and share them. When we’ve established several to explore, we’ll go off and sketch (literally, like with pencil and paper) and then share those sketches. Sometimes these first two steps are combined—the broad brainstorming is accompanied by sketches—but the outcome is the same: the client gets to be a part of the ideation before a single pixel has been pushed.

Once the sketches are turned into a bunch of actual designs on the computer, we present them, and the client can take a couple of them into the refinement stage. We know sometimes it’s hard to choose just one! So we like to help them make a strong decision by offering to button up a couple options to consider.

Depending on the amount of back and forth, the complexity of the client’s needs, and whether other elements (secondary graphics, etc.) are involved, the process can take a couple of weeks or a month. But this basic approach remains the same.

Creative Friends: Tony Ruth

Each month, we ask 6 questions of a friend whose creative work we admire.

This month we’re featuring creative director Tony Ruth. He’s worked with everyone from Coke to Microsoft and is currently Head of Concept Development at Cleveland Avenue, a food and beverage accelerator in Chicago.

1. How’d you end up doing what you’re doing now?

I went to school for product design, but it became clear in my twenties that my main skill was digital illustration. I was working on innovation projects, doing concept visualization for consumer testing and helping clients create opportunity studies around new brands and services. I spent a few years collaborating with one of my favorite clients to help her develop a corporate venture group for food and beverage startups — it was long term strategic study, lots of research, more than anything else we were designing an organization. It never launched, but she and I met some influential people and now we’re both in-house at a new organization that’s custom made to accelerate food startups.


2. Describe a typical day.

So I go back and forth between doing traditional creative direction — packaging design, restaurant branding, UX mockups — and this more amorphous thing that I’ve been calling concept development. Creative direction is pretty straightforward — we have brands that we own or are invested in that need immediate attention and it’s our job to get them into the next phase of growth: refine their messages, define their offerings, and build out the brand architecture to communicate with the right audience. Pretty standard. Concept development is the longer play: how do we even figure out what we should be investing our resources in? I’m in a lot of meetings with entrepreneurs who are showing us new food products and tech, with investors and corporate partners that have gaps in their portfolios or brands that are losing steam. I do a fair amount of spec work, building early concept pitches that visualize where a brand could go if we invest in it, or if we find the right partner to help accelerate it. It’s basically telling the story of what we believe is possible if the right resources are aligned, in order to get everyone who matters on board.


3. What are you working on now that you’re most excited about?

Literally right now I’m flying back from meeting with a company that has a radical new environmentally friendly technology that could cut transportation costs in the beverage industry by 80%, which is amazing and inspiring. They don’t need much traditional creative because their engineering is so strong, but at the same time, the impact of the product is so enormous that it merits crystal clear messaging. So that’s a highly meaningful project that’s mostly communications strategy. On the other side of the spectrum, we’re entirely redesigning a small beverage brand from top to bottom. It’s exclusively a graphic job, with no practical limitations on what we do, so it’s liberating and therefore a lot of fun.


4. What have you done there that you’re most proud of?

Just the fact that this place exists at all. We’ve been trying to build some version of it for five years now, and it never would have happened if we hadn’t met our founder at the right time and had this crazy alignment between what we were doing and what he was doing. More than any individual design projects I’m super excited when we get investment into a great small company with amazing founders who’ve been going it alone for too long and deserve support. Working with people who are building their own companies is a really positive experience, the enthusiasm is infectious and you really want to make their little company grow because you see how much it means to them.


5. What would you most like to work on (fantasy or reality)?

That’s hard for me to answer because I love working across new categories — I’m becoming a professional dilettante, looking at new things constantly, keeping a library in my head of all the things I find fascinating or viable and trying to connect the dots between them. Ultimately I’d like to be part of a roving concept design SWAT team, flying into the Aspen Institute or whatever to do concept sprints in collaboration with my favorite design buds. I’m kind of in love with the idea phase in and of itself, and with the act of collective creation. At the same time I’d love to own a brand entirely so that I can control everything and nerd out about tiny details.


6. If you weren’t doing this, what would you want to be doing (fantasy or reality)?

Children’s books. I have a few in the works. Every couple of years I do a goofy side project with cartoons (you can search for Lunchbreath or Welcome To BusinessTown) and one of my immediate life goals is getting at least one of these books done and out in the world.

Starting by Sketching

This is one of the most important tools in the studio: my trusty red Sterling wirebound sketchbook. And it’s just the current one—there are dozens of spent ones filling a shelf at the back of the office.

Now, I love my computer. Love it. But my sketchbook is where all my projects begin.

Computers can do a lot, but they can’t come up with ideas. Working things out on paper allows me to explore what the design should be, not what the computer can generate to fit the bill. Starting on the computer also plunges me right into refinement and details, before the big picture is established—I can burn a lot of time tightening up an idea that doesn’t deserve it. And having a few options that look polished tends to cut off the exploration and experimentation before everything has actually been tried.

The first step in any design project is, of course, thinking: pondering what visual metaphors could represent a company for its logo. Simply recording these ideas—good or bad—is one great way to use a sketchbook. For me, sketching is part of this brainstorming process. Then sketching takes over and I’ll blaze through page after page exploring ways an idea could work formally. Above are my sketches for the first round of concepts for the logo for DC restaurant Halfsmoke. None of these drawings is “suitable for framing” by any stretch. Some are truly awful scrawls just to capture an idea. Sometimes I’ll actually just write the company name down several times, approximating a typeface, to see how the letters work together or play off each other. That lead to the idea above where the lowercase L became the 1 in a “1/2” built into the logotype. Truly “messing around” with the words, letters, or symbols I’m considering always reveals something I wouldn’t have thought of unless I was working through it on paper.

The inherent looseness of a quick thumbnail sketch can also immediately validate an idea worth keeping or exploring further. You can see this happening with a few of the ideas above (the script, the flame) which ended up resolved enough that it was just a matter of scanning them in and tracing them on the computer to get the final version.

Below are some early sketches for Elevele, many of which show it was very much about playing with expressive opportunities found among the letters. Sure, I would have seen some of these opportunities by typing out the name in Helvetica onscreen, but pencil and paper made me think through the ideas more critically. And after working out a bunch of sketched ideas, I could immediately see which ones were worth bringing into the computer and which weren’t. Had some of these ideas been conceived on the computer, they might have looked more successful than they really are, due to the level of polish.

Beyond greatly aiding the ideation process, sketching has another huge benefit: focus. Simply being away from my phone and computer (or better yet, in a different room) eliminates the distraction of email (and Facebook, Slack, etc.) to allow for some good quality time concepting.

And I don’t just do this for logos. I sketch everything from magazine covers, to web sites, to things like the infographic below, which was done for Hyde Park Angels. (For the life of me, I can’t interpret exactly what’s going on in these sloppy sketches now, but it meant something at the time.) I could have taken to the computer right away—quickly drawing some icons and typing in the stats. But sketching in a case like this is almost like “rapid prototyping,” allowing me to quickly try things out to see where things need to go for them to make sense. And the broader perspective afforded by quick sketches lead to some interesting relationships among the elements.

As I pointed out in the post about our logo design process, sketches can also offer the client a snapshot of numerous directions before a huge investment of design time has been made. But for me, the best reason is simply that the conscious, deliberate act of scratching lines into paper brings a different perspective to shapes and formal relationships and always leads to unexpected discoveries.

Collection: 45 Sleeves

It’s no secret we love records around here. But (pretty much) the only 45s in the collection are here solely because of the sleeves. Here’s a few examples.

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