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Autor: Paola Morales Trosino
Visit my website at www.Designvision.com
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Copyright Š 1992 by Paola Morales Cover design by Paola Morales Book design by Paola Morales Editors: Grace Kook-Anderson and Claire Fitzsimmons Authors: Paola Morales Copy editor: Lindsey Westbrook Director of publications: Erin Lampe Project manager: Meghan Ryan Printer: Westcan Printing Group, Winnipeg, Canada Distribution: Distributed Arts Publishing Inc., New York All rights reserved. No part of this book may be reproduced in any form or by any electronic or mechanical means including information storage and retrieval systems, without permission in writing from the author. The only exception is by a reviewer, who may quote short excerpts in a review. Paola Morales Visit my website at www.Designvision.com Printed in the Mexico City First Printing: May 2012 ISBN-13 978-0-9798377-0-8
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Index
Hermann Zapf
Nigel Holmes Germán Montalvo
Félix Beltrán Doyald Young Herb Lubalin
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About Herman Zapf The great typeface designer
Hermann Zapf was born in Nuremberg during turbulent times marked by the German Revolution of 1918–1919 in Munich and Berlin, the end of World War I, the exile of Kaiser Wilhelm, and the establishment of Bavaria as a free state by Kurt Eisner. In addition, the Spanish Flu Pandemic took hold of Europe in 1918 and 1919 and killed two of Zapf’s siblings. Famine later struck Germany, and Zapf’s mother was grateful to send him to school in 1925, where he received daily meals in a program organized by Herbert Hoover. In school, Zapf was mainly interested in technical subjects. One of his favorite books was the annual science journal Das neue Universum (“The New Universe”). He and his older brother experimented with electricity, building a crystal radio and an alarm system for his house. Even at his early age, Zapf was already getting involved with type, inventing ciphertext alphabets to exchange secret messages with his brother. Zapf left school in 1933 with the ambition to pursue a career in electrical engineering. Unfortunately, his father had become unemployed. Zapf’s father experienced trouble with the newly established Third Reich, having been involved with trade unions, and was sent to the Dachau concentration camp for a short time. Most of Zapf’s work as a graphic artist was in book design. He worked for various publishing houses, including Suhrkamp Verlag, Insel Verlag,
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Life Style
Discovering His Calling
Zapf designed types for various stages of printing technology, including hot metal composition, phototypesetting (also called “cold type”), and finally digital typography for use in desktop publishing. His two most famous typefaces, Palatino and Optima, were designed in 1948 and 1952, respectively. Palatino was designed in conjunction with August Rosenberger, with careful attention to detail. It was named after 16th century Italian writing master Giambattista Palatino. Optima, a flared sans-serif, was released by Stempel in 1958. Zapf disliked its name, which was invented by the marketers at Stempel. Zapf was not given many jobs in calligraphy. The largest one was writing out the Preamble to the United Nations Charter in four languages, commissioned by the Pierpont Morgan Library in 1960 for $1000. Zapf has been working on typography in computer programs since the 1960s. His ideas were considered radical, not taken seriously in Germany, and rejected by the Darmstadt University of Technology, where Zapf lectured between 1972 and 1981. In 1977, Zapf and his friends Aaron Burns and Herb Lubalin founded a company called “Design Processing International, Inc.” in New York and developed typographical computer software. In 1977 he was made Professor of Typographic Computer Programming at the Rochester Institute
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of Technology in New York and his fonts Palatino, Optima, Zapf Chancery, and Zapf Dingbats are now familiar designs found on all personal computers. Optima, Zapf’s personal favourite font, was selected for the engraved names on the Vietnam War Memorial. From his first typeface designed when he was just 20 years old (Gilgengart), through more than 200 others right up to the present day, Zapf’s work has achieved an unmatched popular success,
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while maintaining an aesthetic level which has earned him praise from professionals throughout the world. Several of his most popular type designs, such as Palatino, Optima, ITC Zapf Chancery Italic, and , are resident on most home computers. Other fonts, such as Michelangelo, Zapf International, and Zapf Renaissance - among numerous others - are the mainstay of many of the finest graphic designers of today.
Palatino is the name of a large typeface family that began as an old style serif typeface designed by Hermann Zapf initially released in 1948 by the Linotype foundry. In 1999, Zapf revised Palatino for Linotype and Microsoft, called Palatino Linotype. The revised family incorporated extended Latin, Greek, and Cyrillic character sets. Under the collaboration of Zapf and Akira Kobayashi, the Palatino typeface family was expanded. Linotype released the Palatino nova, Palatino Sans, and Palatino Sans Informal families, expanding the Palatino typeface families to include humanist sans-serif typefaces. Palatino nova was released in 2005, while the others were released in 2006. Palatino Linotype is a version of the Palatino family that incorporates extended Latin, Greek, Cyrillic characters, as well as currency signs, subscripts and superscripts, and fractions. The family includes roman and italic in text and bold weights. It is one of the few fonts to incorporate an interrobang.Palatino nova is a redesigned version of Palatino, by Hermann Zapf and Akira Kobayashi. This Palatino nova typeface family includes roman and italics in the light, text, medium, and bold weights, a titling face formerly called Michelangelo Titling, and a large and small capital face called Palatino nova Imperial formerly called Sistina. Palatino nova has reduced support on extended Latin, Greek, Cyrillic characters. In particular, Greek and Cyrillic is only available in Regular and Bold weight fonts.
Palatino
Palatino Linotype
Linotype
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Optima typeface
Though classified as a sans-serif, Optima has a subtle swelling at the terminal producing a suggestion of a glyphic serif. Optima’s design follows humanist lines, but its italic variant is merely an oblique, essentially a sloped roman without characteristic italic letterforms such as a single storey a and rounded base of v and w. This is more typical of a realist sans-serif such as Helvetica or Univers. Also unconventional for the contemporary sans, Optima’s capitals (like Palatino’s) are directly derived from the classic Roman monumental capital model (one other well executed example is Meier’s Syntax). It is clear from the reverence in Zapf’s designs that he regards the Roman capitals as ideal forms, and his executions in type prove the thesis. Like Palatino, another Zapf design, Optima is both widely admired and much imitated. Optima and Palatino are trade marks of Linotype (a Monotype company). In the Bitstream font collection, Zapf Humanist is provided as an Optima clone. Other Optima clones include Optane from the WSI Fonts collection, Opulent by Rubicon Computer Labs Inc., Ottawa from Corel, CG Omega and Eterna. Freely available implementations include MgOpen Cosmetica (Available with open source license) and URW Classico (available with URW Font package from Ghostscript).
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Zapfino typeface
In 1983, Zapf had completed the typeface AMS Euler with Donald Knuth and David Siegel of Stanford University for the American Mathematical Society, a typeface for mathematical composition including fraktur and Greek letters. David Siegel had recently finished his studies at Stanford and was interested in entering the field of typography. He told Zapf his idea of making a typeface with a large number of glyph variations, and wanted to start with an example of Zapf’s calligraphy, that was reproduced in a publication by the Society of Typographic Arts in Chicago. Zapfino’s development had become seriously delayed, until Zapf found the courage to present the project to Linotype. They were prepared to complete it and reorganized the project. Zapf worked with Linotype to create four alphabets and various ornaments, flourishes, and other dingbats. Zapfino was released in 1998. Later versions of Zapfino using the Apple Advanced Typography and OpenType technologies were able to make automatic ligatures and glyph substitutions (especially contextual ones in which the nature of ligatures and substituted glyphs is determined by other glyphs nearby or even in different words) that more accurately reflected the fluid and dynamic nature of Zapf’s calligraphy.
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Information Designer
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About Nigel Holmes An original information designer
Holmes received a MA in illustration from the Royal College of Art in 1966. From 1966 to 1977 he worked as a freelance illustrator and graphic designer in London, England for newspapers and magazines. From 1978 to 1994 he went to New York working for Time Magazine to design so called “explanation graphics” for the magazine. In that time he also continued other work as freelance designer, lecturer, and authored a book on “Wordless diagrams”. After a sabbatical in 1994 in 1995 he started his own illustration company, working for clients as Apple, Fortune, Nike, The Smithsonian Institution, Sony, United Healthcare, US Airways and Visa. He also continues to create illustrations and graphics for Harper’s, The New York Observer and The New York Times, among others. Holmes received a MA in illustration from the Royal College of Art in 1966. From 1966 to 1977 he worked as a freelance illustrator and graphic designer in London, England for newspapers and magazines. From 1978 to 1994 he went to New York working for Time Magazine to design so called “explanation graphics” for the magazine. In that time he also continued other work as freelance designer, lecturer,
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After a sabbatical in 1994 in 1995 he started his own illustration company, working for clients as Apple, Fortune, Nike, The Smithsonian Institution, Sony, United Healthcare, US Airways and Visa. He also continues to create illustrations and graphics for Harper’s, The New York Observer and The New York Times, among others. Holmes received a MA in illustration from the Royal College of Art in 1966. From 1966 to 1977 he worked as a freelance illustrator and graphic designer in London, England for newspapers and magazines. From 1978 to 1994 he went to New York working for Time Magazine to design so called “explanation graphics” for the magazine. In that time he also continued other work as freelance designer, lecturer, and authored a book on “Wordless diagrams”. After a sabbatical in 1994 in 1995 he started his own illustration company, working for clients as Apple, Fortune, Nike, The Smithsonian Institution, Sony, United Healthcare, US Airways and Visa. He also continues to create illustrations and graphics for Harper’s, The New York Observer and The New York Times, among others. Holmes received a MA in illustration from the Royal College of Art in 1966. From 1966 to 1977 he worked as a freelance illustrator and graphic designer in London, England for newspapers and magazines.
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Creations
New and fresh views of design
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Publications
Looking for the Trending Design Nigel Holmes published several books on various aspects of information design. A selection: 1984. Designer’s Guide to Creating Charts and Diagrams. Watson-Guptill, NY. 1985. Designing Pictorial Symbols. With Rose DeNeve. 1991. Pictorial Maps. 1991. Designer’s Guide to Creating Charts and Diagrams 1996. Best in Diagrammatic Graphics. 2003. The Complete Guide to Digital Illustration. With Steve Caplin and Adam Banks. 2005. Wordless Diagrams 2006. On information design. With Steven Heller. 2007. The Enlightened Bracketologist: The Final Four of Everything. With Mark Reiter and Richard Sandomir, and Nigel Holmes. After a sabbatical in 1994 in 1995 he started his own illustration company, working for clients as Apple, Fortune, Nike, The Smithsonian Institution, Sony, United Healthcare, US Airways and Visa. He also continues to create illustrations and graphics for Harper’s, The New York Observer and The New York Times, among others. Holmes received a MA in illustration from the Royal College of Art in 1966.
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Felix Beltran
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About Felíx Beltrán Making History
Félix Alberto Beltrán Concepción (born June 23, 1938 in Havana, Cuba) is a Cuban artist. He has had an important career as a graphic designer, painter, draftsman and engraver. He studied in United States between 1956 and 1960, studying graphic design, painting and lithography at the School of Visual Arts, New School for Social Research and Pratt Graphic Art Center in New York City. He has a long professional experience because he worked on different publications and institutions. Between 1953 and 1956 he was a designer for Publicidad McCann Erickson Co., and was a juror in 1974 of VI Biennale des Arts Graphiques in Czechoslovakia and in 1976 of 6th International Poster Biennale in Zaçheta Gallerand, Warsaw, Polond. Since the middle of the 1980s he has resided in Mexico City, where he became the curator of Archivo Gráfico Internacional at the Universidad Autónoma Metropolitana. He also was a professor of Graphic Design in the Instituto Superior de Diseño Industrial (ISDI) (1980-1982), Instituto Superior de Arte (ISA) (1976 - 1982), in Havana, Cuba; at the Universidad Autónoma Metropolitana and the Universidad Iberoamericana in México. His personal exhibitions include: in 1971 “Símbolos de Félix Beltrán” in Museo Nacional
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His personal exhibitions include: in 1971 “Símbolos de Félix Beltrán” in Museo Nacional de Bellas Artes de La Habana, Havana, Cuba; “Exhibition Hall Ruski Avenue”,in Sofia, Bulgaria and after 1990 he did “Pinturas Deconstructivas de Félix Beltrán” in different galeries of Mexico City, like Galery Frida Kahlo, Gallery Santos Balmori, Gallery Artis and Gallery Trazo. He also took part in many collective exhibitions like one in 1960 at New Gallery, New York, U.S.A.; in 1966 at the Gutenberg Museum, Frankfurt, Germany; International Trade Marks Exhibition, New York, U.S.A. and in “Affiches Cubains” at the Musée d’Art et Industrie, Paris, France. Another exhibitions were in The Latin American Graphics Arts Biennial and Museum of Contemporary and Hispanic Art (MOCHA), NewYork.Félix Alberto Beltrán Concepción (born June 23, 1938 in Havana, Cuba) is a Cuban artist. He has had an important career as a graphic designer, painter, draftsman and engraver. He studied in United States between 1956 and 1960, studying graphic design, painting and lithography at the School of Visual Arts, New School for Social Research and Pratt Graphic Art Center in New York City. He has a long professional experience because he worked on different publications and institutions. Between
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Félix Alberto Beltrán Concepción (born June 23, 1938 in Havana, Cuba) is a Cuban artist. He has had an important career as a graphic designer, painter, draftsman and engraver. He studied in United States between 1956 and 1960, studying graphic design, painting and lithography at the School of Visual Arts, New School for Social Research and Pratt Graphic Art Center in New York City. He has a long professional experience because he worked on different publications and institutions. Between 1953 and 1956 he was a designer for Publicidad McCann Erickson Co., and was a juror in 1974 of VI Biennale des Arts Graphiques in Czechoslovakia and in 1976 of 6th International Designer for Publicidad McCann Erickson Co., and was a juror in 1974 of VI Biennale des Arts Graphiques in Czechoslovakia and in 1976 of 6th International Poster Biennale in Zaçheta Gallerand, Warsaw, Polond. Since the middle of the 1980s he has resided in Mexico City, where he became the curator of Archivo Gráfico Internacional at the Universidad Autónoma Metropolitana. He also was a professor of Graphic Design in the Instituto Superior de Diseño Industrial (ISDI) (1980-1982), Instituto Superior de Arte (ISA) (1976 - 1982), in Havana, Cuba; at the Universidad Autónoma Metropolitana and the Universidad Iberoamericana in México.
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Collections
Working and Achivements Félix Alberto Beltrán Concepción (born June 23, 1938 in Havana, Cuba) is a Cuban artist. He has had an important career as a graphic designer, painter, draftsman and engraver. He studied in United States between 1956 and 1960, studying graphic design, painting and lithography at the School of Visual Arts, New School for Social Research and Pratt Graphic Art Center in New York City. He has a long professional experience because he worked on different publications and institutions. Between 1953 and 1956 he was a designer for Publicidad McCann Erickson Co., and was a juror in 1974 of VI Biennale des Arts Graphiques in Czechoslovakia and in 1976 of 6th International Poster Biennale in Zaçheta Gallerand, Warsaw, Polond. Since the middle of the 1980s he has resided in Mexico City, where he became the curator of Archivo Gráfico Internacional at the Universidad Autónoma Metropolitana. He also was a professor of Graphic Design in the Instituto Superior de Diseño Industrial (ISDI) (1980-1982), Instituto Superior de Arte (ISA) (1976 - 1982), in Havana, Cuba; at the Universidad Autónoma Metropolitana and the Universidad Iberoamericana in México. Individual exhibitions His personal exhibitions include: in 1971 “Símbolos de Félix Beltrán” in Museo Nacional.
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Poster Designer
Germรกn Montalvo 27
About Germán Montalvo An innovative designer
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orn in Mexico in 1956. He studied graphic design at the Scuola del Libro, Società Umaniomy, Milan, Italy. He spent ten years in the Printing Madero, led by Vicente Rojo. Since 1988, his practice independently and made designs for various cultural institutions in Mexico, as the National Institute of Fine Arts, the Ministry of Education, the National Council for Culture and the Arts, National University Autonoma de Mexico and the Autonomous Metropolitan University, “El Colegio de Mexico,” Mexico Library as well as museums and publishers (Siglo XXI and Fondo de Cultura Economica). He received the Willy de Majo, awarded by the International Poster Biennale in Me-xico, Mexico Design Award, by the Mexican Academy of Design, the Quorum prize and the prize of the Biennial of Poster in Colorado, USA . States., the Benjamin Franklin award, given by the Publishing House of the U.S., and the Coral prize, awarded by the Festival of New Latin American Cinema. A grant from the National System of Creators of Art since 1994, and member of the Alliance Graphique Interna-
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Born in Mexico in 1956. He studied graphic design at the Scuola del Libro, Società Umaniomy, Milan, Italy. He spent ten years in the Printing Madero, led by Vicente Rojo. Since 1988, his practice independently and made designs for various cultural institutions in Mexico, as the National Institute of Fine Arts, the Ministry of Education, the National Council for Culture and the Arts, National University nal Autonoma de Mexico and the Autonomous Metropolitan University, El Colegio de Mexico, Mexico Library as well as museums and publishers (Siglo XXI and Fondo de Cultura Economica).He received the Willy de Majo, awarded by the International Poster Biennale in Me-xico, Mexico Design Award, by the Mexican Academy of Design, the Quorum prize and the prize of the Biennial of Poster in Colorado, USA . States., the Benjamin Franklin award, given by the Publishing House of the U.S., and the Coral prize, awarded by the Festival of New Latin American Cinema. A grant from the National System of Creators of Art since 1994, and member of the Alliance Graphique Internationale (AGI) since 1997. Born in Mexico in 1956. He studied graphic design at the Scuola del Libro, Società Umaniomy, Milan, Italy.
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Creative Posters Visionary man
Since 1988, his practice independently and made designs for various cultural institutions in Mexico, as the National Institute of Fine Arts, the Ministry of Education, the National Council for Culture and the Arts, National University nal Autonoma de Mexico and the Autonomous Metropolitan University, El Colegio de Mexico, Mexico Library as well as museums and publishers (Siglo XXI and Fondo de Cultura Economica).He received the Willy de Majo, awarded by the International Poster Biennale in Me-xico, Mexico Design Award, by the Mexican Academy of Design, the Quorum prize and the prize of the Biennial of Poster in Colorado, USA . States., the Benjamin Franklin award, given by the Publishing House of the U.S., and the Coral prize, awarded by the Festival of New Latin American Cinema. A grant from the National System of Creators of Art since 1994, and member of the Alliance Graphique Internationale (AGI) since 1997. Born in Mexico in 1956. He studied graphic design at the Scuola del Libro, Società Umaniomy, Milan, Italy. He spent ten years in the Printing Madero, led by Vicente Rojo. Since 1988, his practice independently and made designs for various cultural institutions in Mexico, as the National Institute of Fine Arts, the Ministry of Education, the National Council for Culture and the Arts, National University
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nal Autonoma de Mexico and the Autonomous Metropolitan University, El Colegio de Mexico, Mexico Library as well as museums and publishers (Siglo XXI and Fondo de Cultura Economica). He received the Willy de Majo, awarded by the International Poster Biennale in Me-xico, Mexico Design Award, by the Mexican Academy of Design, the Quorum prize and the prize of the Biennial of Poster in Colorado, USA . States., the Benjamin Franklin award, given by the Publishing House of the U.S., and the Coral prize, awarded by the Festival of New Latin American Cinema. A grant from the National System of Creators of Art since 1994, and member of the Alliance Graphique Internationale (AGI) since 1997. Born in Mexico in 1956. He studied graphic design at the Scuola del Libro, Società Umaniomy, Milan, Italy. He spent ten years in the Printing Madero, led by Vicente Rojo. Since 1988, his practice independently and made designs for various cultural institutions in Mexico, as the National Institute of Fine Arts, the Ministry of Education, the National Council for Culture and the Arts, National University nal Autonoma de Mexico and the Autonomous Metropolitan University, El Colegio de Mexico, Mexico Library as well as museums and publishers (Siglo XXI and Fondo de Cultura Economica).He received the Willy de Majo, award-
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Doyald
Logotype Designer
Young
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AboutDoyald Young Passion for Calligraphy
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e was an American typeface designer and teacher who specialized in the design of logotypes, corporate alphabets, and typefaces. (September 12, 1926 – February 28, 2011 The typefaces designed by Doyald Young include Young Baroque, ITC Éclat, Home Run, and the formal script Young Gallant. Commissions for logotypes and trademarks include the industrial design firm of Henry Dreyfuss Associates, California Institute of Technology, University of California at Los Angeles, exhibition catalogs for UCLA’s Clark Memorial Library, The Music Center of Los Angeles County, Mattel Toys, Max Factor, Vidal Sassoon and Prudential Insurance. With Don Bartels, designed the font for General Electric Company’s corporate identity program.. His life story and working method is profiled in the Lynda.com “Creative Inspirations” video Doyald Young: Logotype Designer. His entertainment credits include: Liza Minnelli
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and Frank Sinatra specials, Disney’s 30th Anniversary Celebration, Harry Connick Jr., k.d. lang, Bette Midler, Prince, The Grand Reopening of Carnegie Hall, The Grammy Awards, The Annual Academy of Country Music Awards, The Golden Globe Awards, and The Tony Awards, and most recently, the Art Directors Guild logo. Young was a teacher at Art Center College of Design, where he taught lettering, logo design, and typographic basics from 1955 to 1978, and again from 1998 until his death in 2011. His book Fonts and Logos was awarded a Silver Medal by the Western Art Directors Club, November 2000. In 2001 Art Center College of Design named him Inaugural Master of the School for teaching and his contribution to the field of art and design. In 2009 AIGA awarded him the prestigious AIGA Medal[3] for his contributions to the field of graphic design. Young died on February 28, 2011 following complications from cardiac sur “Decide who you are, decide what you want to do, and then do it, because it is surely possible.” gery.
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Logotypes
Corporative Image
Specializing in logotypes, typefaces, and trademarks, Young is most widely known for his knack of crafting uniquely beautiful script faces. His scripts include Home Run, Young Baroque, Young Gallant, and the ever popular Eclat—to name a few. It is often noted that his innate ability to produce these legendary script faces is nearly unmatched. The craftsmanship behind each letter of each face is a credit to Young’s meticulous work ethic where he paid careful attention to detail. Young’s profound dedication to design was well rewarded. Whether deliberately or unknowingly, you have certainly had the privilege of viewing his work. Young’s clients were far ranging, appealing to everyone from the general public to niches within the design community, and included the Hilton Hotels, John Deere, Prudential Financial Group, Disney, The Art Director’s Guild, and Mattel Toys. Young was also a professor at the Art Center College of Design in California where he was named the Inaugural Master of the school for his contributions to the field of art and design. An inspiration and mentor to the vast number of students he advised over the years, he was much more than just a teacher to them. STEP magazine once asked Young, “You’re a teacher at Art Center where you teach classes in
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letterform design. In fact, you’ve said that you don’t see yourself as a font designer, as much as a logo designer and a teacher…” to which Young responded: I have taught 4,000 students or more—difficult to count them up over the years, but it’s in that neighborhood. I truly enjoy teaching. Some of my dearest friends are former students, and teaching is one of the most rewarding things that I’ve done. There have been many incredibly talented designers in this profession over the years, but it
Wise words from an incredible individual who left the design community all too soon. Doyald Young, a designer, writer, teacher and mentor, regrettably passed away February 28th from complications during heart surgery. Although this extremely talented and passionate designer is no longer with us, his lifetime of work will carry on and be
Young’s path into the field of design was not a direct route. He ran away from home at the age of 15 and did not complete high school. From there he worked a slew of odd jobs ranging from an usher at Radio City Music Hall to a golf club factory worker. Eventually he landed in Los Angeles and enrolled at Art Center. It was in 1955 when Young’s official professional design career 37
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About Herb Lubalin Typographic impact
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erb Lubalin entered Cooper Union at the age of seventeen, and quickly became entranced by the possibilities presented by 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.” After graduating in 1939, Lubalin had a difficult time finding work; he was fired from his job at a display firm after requesting a two dollar raise on his weekly salary, up from a paltry eight (around USD100 in 2006 currency).Lubalin would eventually land at Reiss Advertising, and later worked for Sudler & Hennessey, where he practiced his considerable skills and attracted an array of design, typographic and photographic talent that included George Lois, Art Kane and John Pistilli. He served with Sudler for twenty years before leaving to start his own firm, Herb Lubalin, Inc., in 1964 Private Practice Cover of 1964 issue featuring article on Barry Goldwater. Typical example of Lubalin’s bold headline work in this magazine.Lubalin’s private studio gave him the freedom to take on any number of wide-ranging projects, from poster
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Working Achivements Life Projects and magazine design to packaging and identity solutions. It was here that the designer became best known, particularly for his work with a succession of magazines published by Ralph Ginzburg: Eros, Fact, and Avant Garde. Eros, (Spring 1962 to issue four 1963) which 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 different papers and the editorial design was some the greatest that Lubalin ever did. It quickly folded after an obscenity case brought by the US Postal Service. Ginzburg and Lubalin followed with Fact, which the former 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.” 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. 41
Famous nventions Designing with typography
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 end 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. Fact itself folded in controversy as Eros before it, after being sued for several years
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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 $90,000, effectively putting Fact out of business. Avant Garde (January 1968 to issue 14 summer 1971) also provided Lubalin with a large format of wide typographic experimentation; the page format was an almost square 11.25 by 10.75 inches bound in a carboard cover, a physical quality that, coupled with Lubalin’s layouts, caught the attention of many in the New York design scene
Often, the magazine would employ full-page typographic titles, which at the time was a largely new idea; in recent times, Rolling Stone art director Fred Woodward has used this method widely in his publication. 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.”. 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 250,000. Lubalin spent the last ten years of his life working on a variety of projects, notably his typographic journal U&lc and the newly founded International Typographic Corporation. U&lc (shorthand for Upper and Lower Case) served as both an advertisement for Lubalin’s designs.
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Photographs scanned from books courtesy the Morton R. Godine Library at the Massachusetts College of Art & Design in Boston, MA. This booklet was designed using InDesign Suite 5. It is typeset inOptima,Helvetica,Garamond, Rockwell, Aubrey, Plantagenet Cherokee and Opificio. Special thanks to Mario Balcazar for input on the cover. Printed with Canon inject on Couche paper.
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