The idea of the Ukrainian DP-creation KHORS as a movement and a journal was kept alive for many years, even though the continuous publishing of the journal, initially planned as a quarterly journal, could never be realized beyond a first edition in 1946. These title pages that were planned to be published provide the observer with a view of the used materials, the methods of designing, and the development of the designs. 

Starting in 1945, immediately after the war, the first planned title page was drawn by Halyna Mazepa with simple paint on a piece of cardboard. Though, this title page was never published – the published KHORS edition in 1946 did also come with a title page illustrated by Mazepa, but a different one – it tells about the idea of what KHORS was supposed to be. On this cover, the name of the journal is formed out of wheat grain, the plant that has influenced the fate of Ukrainian lands during its history like no other. This wheat grain-formed lettering is seen to be growing towards the sun, as the antique Slavic God of the sun was named KHORS.

Another title page was for a planned second edition on the culture of Spain long after publishing the first one. Due to the materials collected by Kostetskyi, the planning phase of this edition can be dated back to late 1950 – early 1951. For this edition, it was seemingly planned to use a title page that contained photos of a Spanish church, a cultural dance as well as a bullfight arena. These three pictures were glued onto a thin yellow piece of paper, which was also inscribed with the name of the journal, the information that this is the second edition, and the title “Z duchu ESPANIÏ” (from the spirit of Spain).

The third title page is a result of the journal’s “Dinkelsbühl-period” and can be seen as the closest attempt to publish a second edition. The creation of this edition planned to result in the “Ukrainian-German Almanac,” can be dated back to the second half of 1951. For this edition, simply designed printing plates were used together with calligraphic elements to achieve a higher level of design. The title page for this edition is also drawn on a piece of cardboard. 

After all, one can see that the KHORS journals’ (supposed) title pages were designed with a high degree of artistic creativity and a high standard of design, despite the difficult material situation. The KHORS editors stood for their artistic values and tried to display this even on the front matter(s). Especially astonishing is that these high-effort title pages were designed with such a degree of passion even though they were never published. Art was created to be art, not to fit with the masses.