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Start with a show or comedian you love, or a line you still repeat. Find the artwork you’ll be glad to see every day.

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All printsStar TrekSeinfeldThe SopranosStand-Up

74 prints

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Dimensional cream and red lettering on blue; a large D and the full separate word dentification cast long shadows.
Norm Macdonald

Inspired by Norm Macdonald

“The D stands for dentification.”

Dimensional definition

Norm Macdonald in Norm Macdonald: Norm questions ID as an abbreviation for identification: the I represents only itself while the D is made to stand for almost the whole remaining word. Norm's published interview directly supports the I/D split; Stern's primary page identifies the same joke in Netflix's teaser. The exact short printed formulation is user-approved abbreviated/adapted wording. Do not claim a specific special's exact delivery or timestamp. Dimensional cream and red lettering on blue; a large D and the full separate word dentification cast long shadows.

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An eager dog looks through an open doorway toward a distant city, with cream and red lettering and a red rug in the dark interior.
Norm Macdonald

Spoken by Norm Macdonald

“Where’s Hitler?”

Open-door dog

Norm Macdonald in Norm Macdonald: Norm contrasts judgmental human affection with dogs' undiscriminating love. He expressly disavows Hitler, then imagines a dog excitedly seeking him while being told that the owner is away doing evil. Netflix's podcast publisher identifies the dog excerpt as from the special; a public transcript replaying the performance corroborates this exchange. The user approved this exact question and an eager dog, specifically dark comedy and not a tribute. An eager dog looks through an open doorway toward a distant city, with cream and red lettering and a red rug in the dark interior.

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An empty red office chair, filing cabinet, desk papers and a coffee mug beneath black serif lettering on cream.
Seinfeld

Spoken by Cosmo Kramer

“I don’t even really work here.”

Empty office

Cosmo Kramer in Seinfeld: Leland dismisses Kramer after criticizing his incomprehensible work. Kramer points out that he was never actually employed; Leland nevertheless treats firing him as difficult. The joke is the persistence of corporate procedure despite the absence of an employment relationship. An empty red office chair, filing cabinet, desk papers and a coffee mug beneath black serif lettering on cream.

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A cream employee badge on a red lanyard lies on a dark green desk beside a pencil, paper clips and papers.
Seinfeld

Spoken by Cosmo Kramer

“I don’t even really work here.”

Employee badge

Cosmo Kramer in Seinfeld: Leland dismisses Kramer after criticizing his incomprehensible work. Kramer points out that he was never actually employed; Leland nevertheless treats firing him as difficult. The joke is the persistence of corporate procedure despite the absence of an employment relationship. A cream employee badge on a red lanyard lies on a dark green desk beside a pencil, paper clips and papers.

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A bowl of orange bisque and a folded napkin sit under cream serif lettering on a diagonal black and cream field.
Seinfeld

Inspired by Elaine Benes

“I mentioned the bisque.”

Spotlit bowl

Elaine Benes in Seinfeld: Elaine compresses a date with a lawyer, retaining dinner’s lobster bisque but glossing over the encounter at her apartment. Jerry objects that she skipped the best part; she says the bisque was the part worth mentioning. The quotation is an excerpt omitting the preceding No. A bowl of orange bisque and a folded napkin sit under cream serif lettering on a diagonal black and cream field.

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Red, gold and cream balloons rise and become sparser against blue; light serif lettering follows their upward rhythm.
Star Trek: The Next Generation

Spoken by Alexander Rozhenko

“The higher, the fewer.”

Escaping balloons

Alexander Rozhenko in Star Trek: The Next Generation: Lwaxana takes Alexander to a free-spirited holodeck community rather than his scheduled appointment. A puzzling maxim interrupts a demand for purposeful planning. Alexander repeats the maxim to the arguing companions, trying out an adult-sounding conversational intervention without a clear literal meaning. Red, gold and cream balloons rise and become sparser against blue; light serif lettering follows their upward rhythm.

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Cream steps descend from a blue arched terrace toward the sea beneath a gold sun and cream serif lettering.
Star Trek: The Next Generation

Spoken by Alexander Rozhenko

“The higher, the fewer.”

Seaside steps

Alexander Rozhenko in Star Trek: The Next Generation: Lwaxana takes Alexander to a free-spirited holodeck community rather than his scheduled appointment. A puzzling maxim interrupts a demand for purposeful planning. Alexander repeats the maxim to the arguing companions, trying out an adult-sounding conversational intervention without a clear literal meaning. Cream steps descend from a blue arched terrace toward the sea beneath a gold sun and cream serif lettering.

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A balance dips toward a glass of blood below an elevated stack of gold; cream, red and gold type sits over a spreading red pool on black.
The Sopranos

Spoken by Little Carmine Lupertazzi

“A pint of blood costs more than a gallon of gold”

Weighed blood

Little Carmine Lupertazzi in The Sopranos: Little Carmine invokes his father’s maxim while mediating between Tony and Phil. His appeal links peace to business interests, but reopening a grievance undermines the attempted truce. A balance dips toward a glass of blood below an elevated stack of gold; cream, red and gold type sits over a spreading red pool on black.

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A coastal house and beach above photographs, a briefcase and whiskey, with cream and red serif lettering.
The Sopranos

Dialogue: Carmela Soprano; later repeated by Tony Soprano

“More is lost by indecision than by wrong decision.”

Beach house

Carmela Soprano; later repeated by Tony Soprano in The Sopranos: Carmela invokes the maxim while urging Tony to decide on the beach house. Tony subsequently repeats it during his conversation with Johnny Sack about the proposed killing of Carmine. The same business-like advice migrates from domestic purchasing to a lethal decision. A coastal house and beach above photographs, a briefcase and whiskey, with cream and red serif lettering.

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Luggage beside a terminal window overlooks a curving road and lake; the cream quotation fills a dark overhead panel.
The Sopranos

Spoken by Tony Soprano

“There’s no geographical solution to an emotional problem.”

Terminal luggage

Tony Soprano in The Sopranos: Marie seeks money to move her family to Maine because Vito Jr. is struggling after his father’s death. Tony dismisses relocation with therapeutic-sounding language. His gambling and money pressures complicate the apparently helpful advice; the family later receives a punitive alternative rather than the requested fresh start. Luggage beside a terminal window overlooks a curving road and lake; the cream quotation fills a dark overhead panel.

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Three empty red barber chairs, a striped pole and tiled floor sit beneath slanted cream and red serif lettering.
The Sopranos

Spoken by Ralph Cifaretto

“What is this, a handsome contest?”

Barber chairs

Ralph Cifaretto in The Sopranos: Ralph enters the group’s banter with a mock compliment about a handsome contest. The surrounding exchanges turn social joking into insults and rough behavior. The line is a casual competitive greeting, not an actual beauty competition. Three empty red barber chairs, a striped pole and tiled floor sit beneath slanted cream and red serif lettering.

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Gold light shines through large letter-shaped openings in a dark hotel facade. An unlettered bucket hat rests on a stone ledge beside black buckled belongings and a tall doorway.
Shane Gillis: Beautiful Dogs (2023)

Spoken by An Australian goth, quoted by Shane Gillis

“Nice hat, fatso!”

Hotel light

A plain bucket hat becomes the focus of a perfectly timed insult in Shane Gillis’s Beautiful Dogs. The joke follows a moment of borrowed confidence outside a hotel, punctured by a passing stranger’s casual remark.

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Cream serif lettering fills a shaped mirror above a red barber chair. A striped cape, barber pole, clippers and a checkerboard floor complete the empty barbershop.
Shane Gillis: Live in Austin (2021)

Spoken by A barber, quoted by Shane Gillis

“Your head is good.”

Red chair mirror

An empty barbershop recalls the opening haircut story in Shane Gillis’s Live in Austin. The barber’s reassurance addresses the head while the customer worries about the result of an unnecessary attempt to improve his hair.

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Black lettering follows the shape of a pale mirror above a black barber chair. A striped cape and clippers sit beside brushes, trailing greenery and a barber pole.
Shane Gillis: Live in Austin (2021)

Spoken by A barber, quoted by Shane Gillis

“Your head is good.”

Black chair mirror

An empty barbershop recalls the opening haircut story in Shane Gillis’s Live in Austin. The barber’s reassurance addresses the head while the customer worries about the result of an unnecessary attempt to improve his hair.

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Cream words follow four descending bends of a blue water slide. Yellow clogs, checked clothing and black-and-gold belongings rest beside the pool, with rides and a slide tower behind.
Shane Gillis: Live in Austin (2021)

Spoken by Shane Gillis's sister, quoted by Shane Gillis

“I'm going back tomorrow.”

Blue slide

Yellow clogs and an inviting water slide recall the Six Flags story in Shane Gillis’s Live in Austin. An outing meant as a kindness before an intervention becomes such a good day that the response is a plan to return.

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Cream words follow three sweeping bends of a turquoise water slide. Yellow clogs and checked, black-and-gold belongings sit at the pool edge below a yellow-roofed tower.
Shane Gillis: Live in Austin (2021)

Spoken by Shane Gillis's sister, quoted by Shane Gillis

“I'm going back tomorrow.”

Turquoise slide

Yellow clogs and an inviting water slide recall the Six Flags story in Shane Gillis’s Live in Austin. An outing meant as a kindness before an intervention becomes such a good day that the response is a plan to return.

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Cream lettering with generous line spacing sits inside an outlined shaped mirror. A red barber chair, striped cape, globe lights and a checkerboard floor balance the reflection.
Shane Gillis: Live in Austin (2021)

Spoken by A barber, quoted by Shane Gillis

“Your head is good.”

Spaced mirror

An empty barbershop recalls the opening haircut story in Shane Gillis’s Live in Austin. The barber’s reassurance addresses the head while the customer worries about the result of an unnecessary attempt to improve his hair.

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A narrow signal beam cuts through the C/E region of the huge red SPACE while a small phone sits beneath the curved earth.
Late Night with Conan O’Brien — Louis C.K. technology interview (2008)

Spoken by Louis C.K.

“IT'S GOING TO SPACE!”

Satellite beam

In Late Night with Conan O’Brien — Louis C.K. technology interview (2008), Louis C.K. rebukes impatience with mobile technology by pointing to the extraordinary journey behind an ordinary delay.

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Nine blank placards stand in two rows of five and four. Their supports join strokes of 11-DENIERS; long shadows spread below them.
Louis C.K.: 2017

Spoken by Louis C.K.

“WE ARE THE NINE 11-DENIERS.”

Nine placards

In Louis C.K.: 2017, Louis C.K. turns his daughter’s mishearing into an imaginary movement against the number eleven. Exactly nine signs stand against the printed eleven; letter strokes become supports in the absurd numerical protest.

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A chain of curved signal marks stretches from the little phone past the word SPACE and toward the satellite beside the O in TO.
Late Night with Conan O’Brien — Louis C.K. technology interview (2008)

Spoken by Louis C.K.

“IT'S GOING TO SPACE!”

Orbital wave

In Late Night with Conan O’Brien — Louis C.K. technology interview (2008), Louis C.K. rebukes impatience with mobile technology by pointing to the extraordinary journey behind an ordinary delay.

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Pink uppercase PIG grows ears and a tail, with a snout inside the P counter. A fig picture on the cookie box contradicts the heading.
Louis C.K.: Hilarious (2010)

Spoken by Louis C.K.

“PIG NEWTONS”

Pig letterforms

In Louis C.K.: Hilarious (2010), Louis C.K. recalls his daughter’s certainty that the cookies are called Pig Newtons, even when the box offers contrary evidence. The confident pig-shaped word ignores fig evidence below it, translating the daughter's certainty and the father's failed correction.

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The huge pink P has a curled tail. Cream NEWTONS hangs over a plate of cookies, a fig-illustrated box and a glass of milk.
Louis C.K.: Hilarious (2010)

Spoken by Louis C.K.

“PIG NEWTONS”

Cookies and milk

In Louis C.K.: Hilarious (2010), Louis C.K. recalls his daughter’s certainty that the cookies are called Pig Newtons, even when the box offers contrary evidence. The pig claim is built into the P while the box offers visible fig evidence; breakfast familiarity makes the false certainty accessible.

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