U&lc Volume Nine-ITC Finds New Elegance
Herb Lubalin's name is missing from the masthead of U&lc Volume Nine. He art directed all the previous issues up through the first in Volume Eight and lent a hand with the second – but passed away while it was being printed. Lubalin was a brilliant, iconoclastic advertising art director. Typography was always at the center of his work. It is where you start with Lubalin and what you eventually come back to. "Typography," however, is not a word Lubalin thought should be applied to his work.
"What I do is not really typography," he said. "I think of typography as an essentially mechanical means of putting characters down on a page. I design with letters. Aaron Burns calls it, 'typographics,' and since you've got to put a name on things to make them memorable, 'typographics' is as good a name as any for what I do."
Lubalin was followed by a series of luminary "guest" designers who built on his powerful foundation, adding their own chapters to the story of U&lc. B. Martin (Marty, to friends) Pedersen was the first. His design brought newfound grace and elegance to the pages of U&lc. Pedersen also used color for the first time in the publication. It's pretty amazing, when you think about it, that a publication about type, typography, calligraphy, photography and illustration could get by for eight years just printed in black and white. The cost of color printing was the obstacle, but as more and more articles cried out for color, aesthetics (and the persistence of Pedersen) won out in Volume Nine Number One.
Pedersen's feature article "The Dream of Flying," in Volume Nine Number One, is a design and typographic tour de force. If you look at no other article in the four issues of Volume Nine, spend some time with this one.
Four typeface families were also announced in the pages of Volume Nine: the ITC Cushing™, ITC Modern No. 216™, ITC New Baskerville® and ITC Caslon No. 224™ designs. ITC Cushing and ITC Modern No. 216™ are revivals of early twentieth century typefaces, the former from American Type Founders and the latter from the British foundry, Stephenson Blake. ITC New Baskerville was originally a Linotype® typeface but was licensed to ITC on an exclusive basis, and ITC Caslon No. 224 was designed as a text companion to the very successful ITC LSC Caslon No. 223™ display design.
Click the PDFs below to find out what else was in U&lc Volume Nine.
Volume 9-1 (Low Res).pdf (13.9 MB)
Volume 9-2 (Low Res).pdf (15.3 MB)
Volume 9-3 (Low Res).pdf (14.8 MB)
Volume 9-4 (Low Res).pdf (15.9 MB)
Volume 9-1.pdf (72.9 MB)
Volume 9-2.pdf (74.0 MB)
Volume 9-3.pdf (72.7 MB)
Volume 9-4.pdf (73.3 MB)
Allan Haley is Director of Words & Letters at Monotype Imaging. Here he is responsible for strategic planning and creative implementation of just about everything related to typeface designs.
- ·The Future of Sex poster
- ·Top 100 Fonts.com Web Fonts for May 2016
- ·47 free tattoo fonts for your body art
- ·How to sell your typefaces
- ·Once Upon DESIGN: New Routes for Arabian Heritage
- ·Alphabet Stories by Hermann Zapf
- ·Type terms: the animated typographic cheat sheet
- ·TypeDecon Digital Download
- ·Linotype Ad: "Linotype vs. Intertype"
- ·The 52 best free graffiti fonts
游客ReviewFS Emeric字体：一款令人愉悦的新字体font article没看看有这款字体啊
我在这儿Review网页设计中的艺术字体设计与排版（1）font article很好 值得学习
新蒂字体 授权使用： 无需备案免费使用的情况： 在个人电脑上安装、打印个人文档、个人网站、博客、微博配图 需要备案免费使用的情况： 设计有可能商用的稿件（在商用时购买商业授权）、用于免费提供给他人的印刷品（印量在500份以内，且无需获得印刷品行政许可）的情况、用作没有品牌冠名的公益广告、用作完全免费（不能含有收费项目）的软件及网络服务。 需要购买个人授权的情况： 个人网店的装饰、个体商...