Their first collaboration in 1962 was called Eros, which was “was a quarterly hardbound publication filled with articles and photo-essays relating to the topics of love and sex.” (Eros, Fact and Avant Garde) The publication received a combination of positive and negative reviews throughout it’s time. One notable collaboration was with Ralph Ginzburg exploring different forms of magazines. During this time Lubalin collaborated with many designers, illustrators, and creatives. Once Lubalin started his own design firm his creativity and work truly began to explode. His work was able to evoke emotion from the reader through the visual design of the page, strengthening the message being delivered. Letters were treated more like objects and shapes that could be adjusted to fit better into the space. He explored the traditional forms of typography and typesetting- stretching the legibility of words by compacting or expanding the letters accordingly. Regardless of being colorblind, Lubalin was always inventive and creative with his approaches to design. He “increased his focus on letterform and layout, resulting in surprising use of ligatures, character substitutions, subtractions, and combinations heretofore never seen before or since” (Brower) which resulted in more powerful forms without using a wide range of colors. When working with illustrators and photographers, he entrusted them with full-color images, but his own work is generally reductive.” (Brower) Having to use a limited color palette may seem to be a detriment, but Lubalin explored other forms of expression in his designs. For example, “many of the works he art directed are either one or two color, usually red and green or red and blue. Lubalin worked around this a few different ways and, arguably, used it as an advantage while working. One small quirk to be noted while discussing Lubalin’s legacy is that he was colorblind. (Brandon) The advertising world began to take a toll on Lubalin, when in 1964 he left Sudler and decided to start his own design firm, “Herb Lubalin, Inc.” During this time Lubalin was working on mostly pharmaceutical advertising and promotions until he began as a partner and expanded the practice. Lubalin worked his way up to vice-president and creative director, eventually being welcomed as a partner of the firm. Finally at 28-years-old he began working at Sudler & Hennessey as an art director. Initially he bounced around various jobs and freelancing for advertising and magazines. Lubalin graduated from Cooper Union in 1939.Īfter graduating from Cooper Union, Lubalin began working his way into the design industry. Lubalin had no prior intentions of pursuing an artistic career prior to Cooper Union, although once there he began to evolve and his ambitions grew. Lubalin remained in New York throughout his childhood and adolescence and eventually enrolled in art school at Cooper Union. Herb Lubalin (loo-ball-in) was born on Main New York City.
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