Fig. 1, Herb Lubalin
http://blog.fonts.com/wp-content/uploads/2011/06/herb_lubalin.png
Herb Lubalin. (Fig.1) Art director, graphic designer and typographer. People describe him as “skinny, colour blind, left handed artist who didn’t speak much.”(Snyder and Peckolick, 1981) Doesn’t sound like an interesting person who talk about, right? However, the twist he puts in his work is incredible!
Herb Lubalin was “a non-verbal designer fascinated by the look and sound of the words, and he expanded on their message with typographic impact.” (Snyder and Peckolick, 1981)
“Herbert was a good art student in high school, despite of inability to draw recognizable images. His teacher encouraged his feelings for design and lettering, knowing one can develop as an artist without relying on drawing accurately.”
Fig. 2, Ad designed for Wm. S. Merrell Company by Herb Lubalin, photo by Carl Fischer, 1954
http://www.creativereview.co.uk/images/uploads/2011/10/lubalin_spasm_0.jpg
He puts into typography more than obvious, adds a feeling to it and makes the words read as they sound. Being playful in anything, he uses every day’s objects in order to bounce off the ideas. That’s how one of his most memorable campaigns was developed, while he was working for Sudler & Hennessey, an advertising agency which specialised in pharmaceutical marketing. The ad featured a drug to counteract muscle spasm. “He came to the office with a Slinky, a coil-like toy that could ‘walk’ down stairs, slither across the floor and tumble end over end.” Lubalin found its moves related to a human muscle movements. That’s how the Spasm Campaign was created.
Fig. 3, Drawings by Herb Lubalin
http://ronroman.com/sketchbook/wp-content/uploads/2012/11/herb_lubalin_051-656×198.jpg
Working in U&lc (a trade newspaper for the typographic industry) he was very strict and always got the things done exactly the way he wanted. He used to sketch his layouts very roughly and basic, (Fig. 3) passing them to the other designers to put the whole thing together. Herb was an idea man, he was not a good drawer, but he knew how he wants it to look like. In my opinion, it is the most important thing for an art director. For this job you have to think of the concepts and layouts, when the ‘dirty’ work is being done by the designers.
Fig. 4, Herb Lubalin Avant Garde
http://paris.blog.lemonde.fr/files/herb_lubalin_ag144.thumbnail.jpg
One of the most popular publications Lubalin was working on is Avant Garde. (Fig.4) “Lubalin’s starting points were capitals in the style of a geometrical sans-serif typeface (known in the USA as a “Gothic”), something between Futura and Helvetica.” This font became the most successful typeface of the 20th century, being abused by the other designers as they used it not in the right way. Professionals used to say “The only place Avant Garde looks good is in the words Avant Garde.” I find this typeface distinct, considering the historic period if its discovery. This typeface influenced many designers and still is widely used in design.
Fig.5, Spencerian script lettering by Herb Lubalin
http://www.eyemagazine.com/feature/article/up-close-and-tight
“Lubalin was best known for his Spencerian script lettering, (Fig. 5) a style which is often incorrectly referred to as calligraphy.” (Snyder and Peckolick 1981) It is developed in sketch form and drawn with a croquil pen. It could take up to ten sketches before Herb was absolutely happy with the design, then it was taken to finest hand-letterers such as John Pistilli, Tom Carnase or Tony Di Spigna.
Refferences:
100 Best Typefaces [WWW] Available from: http://www.100besttypefaces.com/23_Avant+Garde+Gothic.html [Accessed 10/11/2013]
Gertrude, S. and Peckolick, A. (1985) Herb Lubalin, Art director, Graphic Designer and typographer. Amshow & Archive
Eye Magazine [WWW] Available From: http://www.eyemagazine.com/feature/article/up-close-and-tight [Accessed 10/11/2013]
Ilya Nasedkin 
