Herb lubalin biography graphic design
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Pioneer: Herb Lubalin
In a Cooper Union class on typography, Lubalin said, “We've been conditioned to read the way Gutenberg set his type, and for years, people have been reading widely-spaced words on horizontal linesWe read words, not characters, and pushing letters closer or tightening space between lines doesn't destroy legibility; it merely changes reading habits.”
Lubalin joined with phototypography pioneer Edward Rondthaler and typographer Aaron Burns in establishing the International Typeface Corporation (ITC) in ITC was founded to commission new and redrawn typefaces for computerized photosetting; it gave designers copyright protection and royalties for the first time. With Lubalin as design director, ITC began a journal, U&lc, to publicize and demonstrate its typefaces and license them to subscribers.
His lifelong friend Lou Dorfsman said, “Perhaps the most awesome contradiction in Herb Lubalin was his blend of silence and eloquence. His
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Herb Lubalin
American graphic designer
Herb Lubalin | |
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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.
Biography
[edit]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
[edit]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 p
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In , when I was a senior in high school, my art teacher gave me some graphic design magazines. Knowing I loved art and design, he told me “Hold on to these. They will be worth something one day.” What he gave me was a nearly complete set of Avant Garde, an innovative arts and culture magazine published between January and July
At the time, I could not have understood the significance of these magazines or what they were all about. So, I browsed through them a couple of times and then stuck them in a box. And there they sat for 35 years until a few months ago when I dug them out started looking through them again.
If you know something about the social and cultural climate in America during , you can probably figure out what the magazine was about. For example, issue number 7 from March had a front cover photograph that is a parody of Archibald Willard’s famous patriotic painting “The Spirit of ’76”; Carl Fischer’s version of the image includes a white woman and a black man as t