And very often I turn down a product because I just think it detrimental for people to buy certain products ”) and partly creative ( “At an agency there are no individuals … and all those who stick to it become anonymous ”).Ĥ. Later, he outlined his objection to advertising: his opposition was partly moralistic ( “I don’t particularly like to advertise products and help clients sell products that I have no particular use for. Lubalin worked at S&H from 1949 to 1964.ĭuring that time he became one of the pioneers of expressive typography (‘word pictures’, to use his phrase): his print ads for leading pharmaceutical companies radicalised advertising at a time when press ads often featured people in evening dress standing next to Cadillacs.īut although Lubalin became a partner in the firm – and hired many of the smartest brains of the ‘new advertising’ movement (George Lois, Helmut Krone, amongst others) – he ultimately rejected a career in advertising in favour of graphic design. He was a key figure in the ‘creative revolution’ that transformed American advertising in the 1960s.Īfter Doyle Dane Bernbach (DDB), Sudler & Hennessey was widely regarded as the most important agency in the creative revolution that took place in mid-century American advertising. So great was his virtuosity that he could draw with his right hand while signing cheques with his left.ģ. He was famously known to sketch all his ideas on ‘tissues’ that were then passed to lettering artists to turn into highly polished artwork. His ambidextrousness, however, was seen as a sign of virtuosity. In fact, it could be argued that his colour blindness contributed to his genius for incisive black and white imagery.
#Herb lubalin font history professional
Like most Brits, I had always referred to him as ‘ Loo-b’lin’ (accent on ‘Loo’), and it took many months of interviewing Lubalin family members and former colleagues, to break the habit.Īn inability to distinguish colours might be thought of as a severe handicap for a graphic designer, yet Lubalin seems to have negotiated professional life without being greatly hampered by this inability. His name is pronounced ‘Loo- baa-lin’, with the accent on the ‘baa’. It is against the backdrop of this journey from skepticism to admiration, that I offer you ten things that you should know about Herbert Frederick Lubalin.Ībove: Typographic self-portrait by Lubalin for an exhibit at the American Institute of Graphic Artsġ. Gradually, I became seduced by the typographic poise and power of expression that he brought to every project that bore his – or his studio’s – name. He emerged as a sophisticated and surprisingly progressive designer. Yet the more I delved into the life and work of Lubalin, the more interesting he became. Of course, I recognised that he was a significant American typographer and designer, responsible for some high quality typographic logos and a handful of era-defining typefaces. Prior to writing a book on Herb Lubalin (1918–81), I had a rather sketchy opinion of him, writes Shaughnessy.
#Herb lubalin font history full
By way of an introduction to Lubalin we present the full text, here. Warm thanks to all our backers! Last year, Adrian Shaughnessy talked to the #Lubalin100 project about his experience of writing and researching the book, and describing what he discovered about this legendary figure of American graphic design. Our recent Kickstarter campaign to republish our 2012 book on US designer and typographer Herb Lubalin was successful.
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