Lubalin didn’t write much, and he had a slight air of anti-intellectualism. There are a number of reasons why Herb Lubalin has been a somewhat neglected figure in comparison to, say, Paul Rand or Saul Bass, or some of his European near-contemporaries such as Wim Crouwel and Josef Müller-Brockmann. Why do you think there has been so much less interest in Lubalin than in some of his contemporaries? The last one, published in 1985, has long been out of print. This the first Lubalin monograph in 27 years. The alphabet set in Avant Garde Gothic (1979) Recently, Shaughnessy gave Imprint a preview of the limited-edition book, which can be pre-ordered from Unit, and took some time to answers our questions about Lubalin’s work, his sometimes prickly personality, and the rampant misuse of his most famous typeface. Scheduled to begin shipping in August, Herb Lubalin: American Graphic Designer, 1918–81 is the first major work on Lubalin since 1985-and it is indeed a major work, with 448 pages including hundreds of examples of the pioneering designer’s work, many never before seen, and a lengthy and revealing biographical essay by Adrian Shaughnessy (who also co-edited the book with Tony Brook and Alexander Tochilovsky). Unit Editions’ forthcoming monograph on Herb Lubalin already seems poised to be the design publishing event of the summer.
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