Herb Lubalin Overview

For almost 20 years, Herb Lubalin embodied what was best in American typography. Though a soft-spoken presence, Lubalin was in fact a master communicator with a deep grasp of the subtleties of human interaction. Lubalin received his education from the Cooper... [more]

For almost 20 years, Herb Lubalin embodied what was best in American typography. Though a soft-spoken presence, Lubalin was in fact a master communicator with a deep grasp of the subtleties of human interaction. Lubalin received his education from the Cooper Union School in New York, where he was so successful that they named a department after him: the Herb Lubalin Study Center of Design and Typography. In 1945 he accepted a position as art director at Sudler and Hennessey, and in 1955 was promoted to vice president. In 1964, Lubalin left to establish his own company. He designed with the intent to communicate clearly and creatively. Rejecting the functionalist philosophy embraced by his European counterparts, he opted instead for a style that is more expressive, more communicative. Lubalin's portfolio includes advertising, packaging, editorial design, signage, typeface design, and postage stamps. Lubalin was an editorial designer for the 'Saturday Evening Post,' 'Fact,' 'Eros,' and 'Avant-Garde.' 'Avante-Garde' was dear to his heart because it represented the progressive ideals of the civil rights movement, the anti-war movement, and the youth culture of the time: ideals which Lubalin shared. The typeface, Avant-Garde, that Lubalin designed for the masthead of the magazine, went commercial in 1970 and has since become one of the most popular fonts in current use. [show less]