PRINT (founded 1940) is where creative people gather to inspire and build design dialogue. For example: Shaughnessy, a design critic and the author of several other books, including How To Be a Graphic Designer Without Losing Your Soul, posited that in the late ’80s, with the rise of Emigre, David Carson, Neville Brody, etc., Lubalin’s work was seen by many as passé, but is now enjoying an unprecedented revival of global interest. The magazines sadly went under due to obscenity charges filed by the US Postal Service against Ginzburg. There, he was able to combine his work as an art director with his work in typography. Warm thanks to all our backers! But, as I said at the beginning of this text, most of what I learned about Herb Lubalin surprised me. 9. Intro American typographer- new York 1918-1981 From 1935-1980’s, ruled the business world in expressive type design Thesis: Herb Lubalin contributed immensely to the evolution of expressive type; so much that his work was not only admired on a global scale, but also still used today as the foundation of how meaning is… So I traded my Santa Monica apartment and my Karmann Ghia for an L-shaped studio on East 18th Street, and gave up my cushy job at UCLA to become a designer at Lubalin, Smith, Carnase. He emerged as a sophisticated and surprisingly progressive designer. London SW18 2HN So great was his virtuosity that he could draw with his right hand while signing cheques with his left. In the case of Lubalin, the matter is further complicated by the fact that, as has already been noted, he only ever produced ‘tissues’ – sketches done with a cheap Pentel pen and then passed over to highly skilled lettering artists such as John Pistilli, Tom Carnase and Tony DiSpigna. Such as the original and brilliant work of Herb Lubalin. The logo is now considered a classic. In fact, it was he who attracted talent from multidiscipline, such as design, typography and photography, to the firm. For Ernie Smith, however, there was no doubt about the central role Lubalin played in the studio’s creative output: “The art director who got a Lubalin tissue couldn’t take credit as the designer,” he said. One of the people behind the culture-shocking magazines Avant-Garde, Eros and Fact, he was a constant boundary breaker on both a visual and social level. Unlike Paul Rand or Lester Beall, Lubalin rejected the ‘Swiss Style’. The Lubalin family was there, too—sons Peter and Robbie—and many of Herb’s old colleagues and friends, including panelists Bernie Zlotnick, who worked with Lubalin in the ’60s at Sudler & Hennessey; Fay Barrows, Lubalin’s assistant at S&H; ad man George Lois; author and educator Steve Heller; and designer Louise Fili, who in the mid ’70s launched her career at Lubalin, Smith, Carnase. But I soon got bored with encyclopedia layouts, and was too young and impatient to appreciate that something more interesting might soon present itself. In interviews he always paid humble tribute to his many collaborators. Some things endure. That I did. 100 things over 100 days to celebrate Lubalin’s Centenary. Herb Lubalin (1918-1981) Born in 1918 in America, Herb Lubalin was schooled at The Cooper Union. Someone who loved lettering, typography, and the processes and craft of graphic communication. Herb often said that when he retired he would devote his life to painting. He designed a number of left-leaning publications (often, it must be said, for reasons as much to do with the artistic freedom these small magazines gave him as for their political complexions). With Herb Lubalin as editor and designer, ITC began publishing “U&lc” in 1973 to market the company’s typefaces.