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The basic “BEARDS” lettering has been extrapolated out into a complete typeface. Sproviero’s Lubaline is clearly based on a specific bit of lettering: the cover of a book called Beards, designed and lettered by Lubalin partner Alan Peckolick in 1976. It sparked my own ambition to do type design someday. I was heavily influenced by all this in my formative years as a young designer. Herb Lubalin and his various collaborators dominated the New York design scene, and ITC dominated the type world. He has even done a pitch-perfect ’70s script typeface called Seventies. You can browse a visual sampler of Eye 75 at Eye before You Buy.Maximiliano Sproviero is a skilled young type designer specializing in script and display typefaces, some with a distinctly ’70s vibe. It is available from all good design bookshops and online at the Eye shop, where you can buy subscriptions and single issues.
#WHEN IS LUBALIN FONT FROM PROFESSIONAL#
In this case, the sum was greater than the parts.Įye is the world’s most beautiful and collectable graphic design journal, published quarterly for professional designers, students and anyone interested in critical, informed writing about graphic design and visual culture. More than any new work in the show it was the wall mural, covered in hundreds of Lubalin logos, that held the spectators rapt. The best work, like Gretel’s three-dimensional type-based motion graphics for Yahoo!, or Alex Trochut’s intricate, ribbon-like typography, was bold, dense and carefully wrought. (See some examples in ‘Make each letter speak out loud’.) Tied as they are to Lubalin’s work or the publications they helped define, these fonts are fiendishly hard to employ effectively.Īlmost three decades after his death (in 1981), his influence and relevance was celebrated in ‘Lubalin Now’ (5 Nov–), an exhibition curated by Mike Essl and Alexander Tochilovsky of ME/AT for the Herb Lubalin Study Center of Design and Typography at the Cooper Union. Lubalin designed four typefaces: ITC Avant Garde Gothic (1970), an outgrowth of his logotype for the magazine Ronda (1970) Lubalin Graph (1974), a slab serif and ITC Serif Gothic (1974). ‘Typographics’ – a word coined by Burns – was, he said, ‘as good a name for what I do as any.’ Lubalin never liked the term ‘typographer’, finding it too reductive. Just give us your business’ (Don Draper couldn’t have said it better). For Ebony magazine, he art-directed and co-wrote six confrontational ads in 1968, each with an unforgettable headline: ‘Some of our best friends are bigots’, ‘We’re dreaming of a black Christmas’ and ‘You don’t have to love us. He continued to work on advertising, noting that ‘the most intriguing thing about advertising is writing the headline’. He helped launch three magazines: Eros (1962, see Eye 25), Fact (1964) and Avant Garde (1968).
#WHEN IS LUBALIN FONT FROM SERIES#
In 1964, at the age of 46, he left to set up his own shop (whose name underwent a series of changes based on evolving partnerships with Aaron Burns, Tom Carnese, Tony DiSpigna, Ernie Smith, Roger Ferriter, and Alan Peckolick). Shortly after graduating in 1939, he joined the ad agency Sudler & Hennessey (later Sudler, Hennessey & Lubalin) as an art director. Each is poetic but rigorously balanced – the centre holds.īrooklyn-born Lubalin attended the Cooper Union, where he was an anomaly – left-handed, colour-blind and a man of few words – but excelled in calligraphy. Look at his logotypes: from the chubby Spencerian hand-lettering for The Sound of Music programme to the whisper-thin justified stack for the Cooper Union. Lubalin took the best of Modernism – its rigour, geometry and tightly constructed compositions – and added humour, sensuality and lots of flourishes. Though his career spanned five decades, Lubalin’s best work seems to inhabit a frozen moment, wedged between the corporate orthodoxy of 1960s Modernism and the Art Deco revival of the 1970s, a period of rich typographic eclecticism that endures and appeals to young designers today.
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Few designers set text in Lubalin’s ligature-rich Avant Garde with the energy and clarity its designer brought to the page. With a razor blade, he customised serifs, ascenders and descenders to his liking – some letters barely touching, others lovingly intertwined.
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Lubalin’s marker-pen comps on tracing paper were as decisive as finished artwork. Rarely have complex typographic arrangements been so unified. His methods were the stuff of legend – and none involved a sledgehammer. Herb Lubalin’s typography has been described as ‘smashed’, but nothing about his arrangement of letters on a page is violent or accidental.