Herb lubalin typefaces

American graphic designer

Herb Lubalin
Herb Lubalin's studio logo.
Born	Herbert F. (Herb) Lubalin March 17,
Died	May 24, (aged 63)
Occupation(s)	Type Designer, Graphic Designer
Spouse	Sylvia Kushner

Herbert F.

Lubalin (; March 17, – May 24, ) was an American graphic designer. He collaborated with Ralph Ginzburg on three of Ginzburg's magazines: Eros, Fact, and Avant Garde. He designed the typeface, ITC Avant Garde, for the last of these.

Herb lubalin famous works

Herb lubalin artwork

Herb lubalin works

Herb lubalin avant garde font

Herb lubalin design

Biography

Herb Lubalin was born March 17, , in New York.^[1] There he lived with his parents, older sister, and twin brother. His parents were very appreciative of the arts and were supportive of his artistic capabilities and talent. Early into his education, his parents realized that he was color blind.^[2]

Education and early career

Lubalin entered Cooper Union at the age of seventeen, and quickly became interested in typography as a communicative implement.

Gertrude Snyder notes that during this period Lubalin was particularly struck by the differences in interpretation one could impose by changing from one typeface to another, always “fascinated by the look and sound of words (as he) expanded their message with typographic impact.”^[3]

After graduating in , Lubalin had a difficult time finding work; he was fired from his job at a display firm after requesting a raise from $8/week (around US$ in currency) to $^[4]

Lubalin would briefly land at Reiss Advertising, and then (in ) at Sudler & Hennessey, where he worked for 19 years.

Lubalin and John J. Graham created the original NBC Peacock in at Sudler.^[5] The Cooper Union web book, Days of Herb Lubalin (day 46), displays a Sudler ad from the s that shows Andy Warhol, Art Kane and John Pistilli were among his employees.

Pistilli Roman () was Lubalin's first typeface.^[6] Google Images show it later comprised the trademarks of Lincoln Center, the Metropolitan Opera and the New York Philharmonic from to

In Lubalin designed the trademark for the Saturday Evening Post, which it used for several years.

Herb lubalin biography typeface styles The design of the logo of this third magazine gives him a hard time but leads to a unique design that will make Avant Garde an immediately recognizable acronym, which he creates through the use of a technological innovation: photocomposition. Lubalin can thus compose words with great freedom and as if they were images, whether they are headings, logos or magazine titles. And to put it full page is just divine. If Gucci made cigarettes, it would look like this.

His work redesigning the magazine was portrayed in a cover painting by Norman Rockwell.^[7]

Lubalin left Sudler to start his own firm, Herb Lubalin, Inc., in

Private practice

Lubalin created the trademark for the World Trade Center at its opening ().^[8] He designed versions of Reader's Digest, New Leader and the entire series of Eros magazine, the last of which was the subject of a U.S.

Supreme Court case on obscenity, Ginzburg v. United States U.S. ().^[9]

Eros Magazine and Fact Magazine

In Lubalin's private studio, he worked on a number of wide-ranging projects, from poster and magazine design to packaging and identity solutions. It was here that he became best known for his work on a series of magazines published by Ralph Ginzburg: Eros, Fact, and Avant Garde.^[10]

Eros (four issues, Spring to ) devoted itself to the beauty of the rising sense of sexuality and experimentation, particularly in the burgeoning counterculture.

It was a quality production with no advertising, and the large format (13 by 10 inches) made it look like a book rather than a quarterly magazine. It was printed on varying papers and the editorial design was some of the greatest that Lubalin ever did. It quickly folded after an obscenity case brought by the US Postal Service.

Herb lubalin biography typeface styles list Here is another of their collaborations for CBS. In , the City of New York invited the Lubalin studio to create a logo that could be used to identify the city. It's a liberation for him, marking a creative turning point in his work. About The Author Alexander Eckstein.

Ginzburg and Lubalin followed with Fact, largely founded in response to the treatment Eros received. This magazine's inherent anti-establishment sentiment lent itself to outsider writers who could not be published in mainstream media; Fact managing editor Warren Boroson noted that “most American magazine, emulating the Reader's Digest, wallow in sugar and everything nice; Fact has had the spice all to itself.”^[10] Rather than follow with a shocking design template for the publication, Lubalin chose an elegant minimalist palette consisting of dynamic serifed typography balanced by high-quality illustrations.

The magazine was printed on a budget, so Lubalin stuck with black and white printing on uncoated paper, as well as limiting himself to one or two typefaces and paying a single artist to handle all illustrations at bulk rate rather than dealing with multiple creators. The result was one of dynamic minimalism that emphasized the underlying sentiment of the magazine better than “the scruffy homemade look of the underground press [or the] screaming typography of sensationalist tabloids” ever could.^[10]

Fact itself folded in controversy as Eros before it, after being sued for several years by Barry Goldwater, the Republican presidential candidate, about whom Fact wrote an article entitled “The Unconscious of a Conservative: A special Issue on the Mind of Barry Goldwater.” Goldwater was awarded a total of $90,, effectively putting Fact out of business.^[10]

Avant Garde

Logo

The creation of the magazine's logogram proved difficult, largely due to the inherent difficulties presented by the incompatible letterform combinations in the title.

Herb lubalin biography typeface styles pictures A simple cover, only the masthead and an image. Not only was Herb an expert calligrapher and designer, he was also a master illustrator. Back then, it was all just damn fine smokey goodness. Contents move to sidebar hide.

Lubalin's solution consisted of tight-fitting letterform combinations to create a futuristic, instantly recognizable identity.^[10] The demand for a complete typesetting of the logo was extreme in the design community, so Lubalin released ITC Avant Garde from his International Typeface Corporation in Steven Heller, one of Lubalin's fellow AIGA medalists, notes that the “excessive number of ligatures .&#;.&#;.

were misused by designers who had no understanding of how to employ these typographic forms,” further commenting that “Avant Garde was Lubalin’s signature, and in his hands it had character; in others’ it was a flawed Futura-esque face.”^[11]

Page design

Avant Garde (14 issues, January to summer ) also provided Lubalin with a large format of wide typographic experimentation; the page format was an almost square by inches bound in a cardboard cover, a physical quality that, coupled with Lubalin’s layouts, caught the attention of many in the New York design scene.^[10] Ginzburg, who held some experience as a photographer, gave Lubalin total control over the magazine’s look: “Herb brought a graphic impact.

I never tried to overrule him, and almost never disagreed with him.”^[10] Other issues included a portfolio of Picasso's oft-neglected erotic engravings, which Lubalin willingly combined with his own aesthetic, printing them in a variety of colors, in reverse, or on disconcerting backgrounds. Unfortunately, Avant Garde again caught the eye of censors after an issue featuring an alphabet spelled out by nude models; Ralph Ginzburg was sent to prison, and publication ceased with a still-growing circulation of ,

U&lc Magazine

See also: International Typeface Corporation §&#;U&lc magazine

Lubalin spent the last ten years of his life working on a variety of projects, playing a key role in the International Typeface Corporation and its typographic journal U&lc (short for Upper and lower case).

Steven Heller argues that U&lc was the first Emigre, or at least the template for its later successes, for this very combination of promotion and revolutionary change in type design. Heller further notes, “In U&lc, he tested just how far smashed and expressive lettering might be taken. Under Lubalin’s tutelage, eclectic typography was firmly entrenched.”^[11] Lubalin enjoyed the freedom his magazine provided him; he was quoted as saying “Right now, I have what every designer wants and few have the good fortune to achieve.

I’m my own client. Nobody tells me what to do.”^[12]

References

New York Times, , p. A 3, corrections

Further reading

External links