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He was an art director, graphic designer and typographer and regarded as one of the world's

best graphic designers. He has an excellent group of achievements in a host of projects including
magazine designing, poster designing, and packaging and identity solutions. And he also made a
great contribution to editorial redesigns during the 1960s. At that time, his talent was best showed
when he designed the publisher Ralph Ginzburgs succession of magazines which were called
Eros, Fact and Avant Garde. In addition, Lubalin created an exclusive typeface which was named
Avant Garde for the magazine. And it is mostly known for being a revision of art-deco.
His work at Sudler & Hennessey began as an industrial design firm and later developed into an
advertising agency. He stayed with Sudler & Hennessey for two long decades before he decided to
establish his own design firm, Herb Lubalin, Inc in 1964. With the foundation of his private studio
he enjoyed the liberty of taking on a variety of art projects. During the last decade of his life, Herb
Lubalin supervised various projects. His most distinguished works include his typographic
journal U&lc (upper and lower case) and the foundation of International Typographic Corporation.
He died at New York University Hospital when he was 63 years old.
Lubalin is recognized for his collaboration with publisher Ralph Ginzburg on a series of
magazine: Eros, Fact and Avant Garde. I am quite impressed by his page designs using strong
geometric structure. His style shows he had pushed his boundary to expand his limitation of
thoughts and sense of traditions.
When a real revolution in design was instilled with phototypography which obsoleted the rigid
quality of metal type of Gutenbergs day, more than any other graphic designer, Lubalin was the
first to accomplish the creative possibilities for expressive design with letterform alone, harking
back to the era of Futurists type. Lubalin was the one needed to define the aesthetic potential of
phototypography by understanding its new flexibility and exploring its possibilities for graphic
Fig 1 He designed the poster for announcing Davida Bold typeface in 1965. (Fig 1) In the
poster, four lines of Peter Piper tongue twister together to share a common capital P. This poster
also raised attention to the design potential of phototypography.
Fig 2 Typogram was one of his most innovative works, which is a brief, visual typographic
poem. The pictures were typefaces that Lubalin transformed words into ideographic typograms

about the subject from his wit and strong message orientation. The typogram are respectively
show an idea of the ampersand enfolds and protects the child in a visual metaphor for motherly
love; marriage, the most licentious of human institutions became an illustration through the joined
Rs; isometric perspective creates a dynamic tension between two and three dimensionality while
implying the citys high-rise architecture.
Fig 3 Here is examples of cover design from Eros.
Fig 4 The page design from Eros, which regards to President John F. Kennedy, shows he
overlapped and touched letterforms, narrowed the space between words, and squeezed words and
images into a rectangle. In the pictorial essay closes with a photograph of the Kennedys opposite a
quotation from Stephen Crane which now reads as a chilling forewarning of the presidents
assassination. Lubalin played with scale of photograph and texts which made lively pace of the
page design.
Fig 5 He worked with the photographer Bert Stern and designed remarkable layouts of a new
vital force for Eros. The cover from Eros shows a figure, Marilyn Monroe, with a crossed
transparent marker which gains drama through scale

The other page from Eros displays four strips grids of images formed by photographic
transparencies is broke by one that shifts upward to align with the logo and headline.

Fig 6 Ginzburg and Lubalin launched their second magazine, Fact, which was the magazine
was dedicated to beauty and emerging sense of sexuality in the burgeoning counterculture.
Lubalin applied minimalist palette, based on dynamic serifed typography and exquisite
illustrations. Fact was too similar to Eros and eventually had to be cancelled.
Fig 7 Lubalin and Ginzburg published the magazine which was named Avant Garde that
published visual essays, fiction, and reportage. In the advertisement for Avant Gardes antiwar
poster competition in 1967, the whole page is dominated by the large red headline NO MORE
WAR! which draws peoples attention and appeals antiwar protest. And Lubalin also compressed
the complex information into five rectangles in different colors. he section opener for an issue of
Avant Garde in 1969 is famous for its layout of title logo spawned a typeface filled with unusual
capital ligatures, this page used in an issue about Picasso

Fig 8 Here is another page of type specimen from Avant Garde, the layout of the page is largely
occupied by a capital letter A in striking red, and the logotype is tightly integrated capital
ligatures which was developed into a family of geometric sans-serif typefaces bearing the same