# Phototype Expressive Typography (Lubalin & U&lc)

> The display typography of the phototype era, led in New York by Herb Lubalin, his lettering partners John Pistilli, Tom Carnase and Tony DiSpigna, and the International Typeface Corporation. Film freed display letters from the metal body, so they are kerned until they touch, overlap or fuse into ligatures, swashes and logotypes, and words are redrawn to show what they mean. Aaron Burns called it 'typographics'. It runs from Ralph Ginzburg's Eros, Fact and Avant Garde to ITC's tabloid U&lc.

- Period: 1962–1985
- Where: North America
- Origin: New York: Herb Lubalin, an art director at Sudler & Hennessey from 1945 who founded Herb Lubalin, Inc. in 1964 (later Lubalin, Smith, Carnase), his designs for Ralph Ginzburg's magazines Eros (1962), Fact (1964-1967) and Avant Garde (1968-1971), and the International Typeface Corporation, founded in 1970 by Lubalin, Aaron Burns and Edward Rondthaler to license typefaces for film and computer typesetting, with its tabloid journal U&lc (from 1973)
- Branch: Pictorial & machine age
- Also known as: Typographics, Herb Lubalin style, ITC / U&lc style, Tight but not touching, Graphic expressionism
- Page: https://stylogeny.com/styles/lubalin-typographics/

## How it works

- Set display type tight but not touching, then go further: kern by eye until chosen pairs touch, overlap or fuse into ligatures, which film type made easy where metal had to be shaved by hand.
- Make the word its own picture: nest, cut, join or replace part of a letter so the word shows what it says, as when a smaller word nests inside a letter's counter.
- Let type be the image: blow a headline or logotype up until it fills the space, mostly in black on white, and set small text and credits beside it for extreme scale contrast.
- Draw the letters for each logotype and headline rather than taking a font as it comes: a geometric sans with interlocking capital ligatures, swash capitals, Spencerian script, slab and serif romans, trimmed and rejoined by hand.
- Pack a tabloid page with several display faces at huge sizes, text columns and credited typefaces, so the page works as a type specimen as well as a magazine.
- However crowded the letters, keep the lettering balanced around its centre and let the wit stay warm rather than cold or neutral.

## Its design choices

Defining choices make the style, characteristic ones are usual, occasional ones turn up now and then.

### Layout & composition
- [Central symmetry](https://stylogeny.com/design-choices/central-symmetry/) (characteristic)
- [Isolated object](https://stylogeny.com/design-choices/isolated-object/) (characteristic)
- [Dynamic asymmetry](https://stylogeny.com/design-choices/dynamic-asymmetry/) (occasional)
- [Column grid](https://stylogeny.com/design-choices/column-grid/) (occasional)

### Space & hierarchy
- [Extreme scale contrast](https://stylogeny.com/design-choices/extreme-scale-contrast/) (defining)
- [Single focal point](https://stylogeny.com/design-choices/single-focal-point/) (characteristic)
- [Layered information](https://stylogeny.com/design-choices/layered-information/) (characteristic)
- [Horror vacui](https://stylogeny.com/design-choices/horror-vacui/) (occasional)
- [Generous white space](https://stylogeny.com/design-choices/generous-white-space/) (occasional)
- [Visual tension](https://stylogeny.com/design-choices/visual-tension/) (occasional)

### Typography
- [Tight setting](https://stylogeny.com/design-choices/tight-setting/) (defining)
- [Type as image](https://stylogeny.com/design-choices/type-as-image/) (defining)
- [Hand-lettering](https://stylogeny.com/design-choices/hand-lettering/) (characteristic)
- [Geometric sans](https://stylogeny.com/design-choices/geometric-sans/) (characteristic)
- [Script](https://stylogeny.com/design-choices/script/) (characteristic)
- [Eclectic mixing](https://stylogeny.com/design-choices/eclectic-mixing/) (characteristic)
- [Didone](https://stylogeny.com/design-choices/didone/) (characteristic)
- [Slab serif](https://stylogeny.com/design-choices/slab-serif/) (occasional)
- [Ornamented display](https://stylogeny.com/design-choices/ornamented-display/) (occasional)
- [All caps](https://stylogeny.com/design-choices/all-caps/) (occasional)
- [Experimental & distorted](https://stylogeny.com/design-choices/experimental-and-distorted/) (occasional)

### Colour
- [Monochrome](https://stylogeny.com/design-choices/monochrome/) (defining)
- [Light ground](https://stylogeny.com/design-choices/light-ground/) (characteristic)
- [Limited spot colours](https://stylogeny.com/design-choices/limited-spot-colours/) (characteristic)
- [Flat fields](https://stylogeny.com/design-choices/flat-fields/) (occasional)

### Form & shape
- [Geometric primitives](https://stylogeny.com/design-choices/geometric-primitives/) (occasional)
- [Whiplash line](https://stylogeny.com/design-choices/whiplash-line/) (occasional)

### Surface & texture
- [Flat](https://stylogeny.com/design-choices/flat/) (characteristic)

### Ornament
- [Restrained accents](https://stylogeny.com/design-choices/restrained-accents/) (characteristic)
- [Borders & frames](https://stylogeny.com/design-choices/borders-and-frames/) (occasional)

### Imagery
- [Typography only](https://stylogeny.com/design-choices/typography-only/) (defining)
- [Straight photography](https://stylogeny.com/design-choices/straight-photography/) (characteristic)
- [Line illustration](https://stylogeny.com/design-choices/line-illustration/) (occasional)

### Medium & production
- [Offset printing](https://stylogeny.com/design-choices/offset-printing/) (defining)
- [Pen, brush & ink](https://stylogeny.com/design-choices/pen-brush-and-ink/) (characteristic)

### Tone & intent
- [Playful & witty](https://stylogeny.com/design-choices/playful-and-witty/) (defining)
- [Warm & approachable](https://stylogeny.com/design-choices/warm-and-approachable/) (characteristic)
- [Romantic & sensual](https://stylogeny.com/design-choices/romantic-and-sensual/) (occasional)
- [Rebellious & subversive](https://stylogeny.com/design-choices/rebellious-and-subversive/) (occasional)
- [Nostalgic & retro](https://stylogeny.com/design-choices/nostalgic-and-retro/) (occasional)

Avoids: Wide letterspacing, Letterpress, Paper & letterpress bite, Modular grid, Gradients, Photocopy & distress, Rational & objective

Palette: #f8f6f1, #111111, #d1322b, #8a8479

Typefaces: ITC Avant Garde Gothic (Herb Lubalin and Tom Carnase, 1970; 33 alternate characters and interlocking capital ligatures), ITC Lubalin Graph (1974, slab serif), ITC Serif Gothic (Herb Lubalin and Tony DiSpigna; two weights 1972, four more 1974), ITC Souvenir, ITC Tiffany and ITC Benguiat (Ed Benguiat, at Photo-Lettering and ITC), Pistilli Roman (Herb Lubalin and John Pistilli, Sudler & Hennessey, 1964; a Didot-style face made only for the Typositor), Spencerian script (Tom Carnase)

Known for: Eros (four hardbound quarterly issues, 1962; Ralph Ginzburg editor, Herb Lubalin co-founder and art director); Fact (January 1964 to August 1967; designed by Lubalin, with stark, mostly typographic black-and-white covers such as the 1964 Barry Goldwater issue); Avant Garde (14 issues, January 1968 to July 1971; its Lubalin logotype grew into the typeface ITC Avant Garde); ITC Avant Garde Gothic (released by ITC in 1970; Herb Lubalin and Tom Carnase, with 33 alternate characters and ligatures; condensed styles by Ed Benguiat, 1974); U&lc (Upper and lower case), ITC's journal on tabloid newsprint, first issue dated 1973; edited and designed by Lubalin until his death in May 1981; Mother & Child magazine logotype (Herb Lubalin, Inc., c. 1965-1966, with Alan Peckolick and Tom Carnase; the magazine never appeared; the original is held at the Herb Lubalin Study Center); Lubalin's 1968 Ebony advertisements, including the headline 'Some of our best friends are bigots'; Gastrotypographicalassemblage, CBS headquarters cafeteria wall (1966; Lou Dorfsman, with lettering by Tom Carnase)

## Where it comes from, and what it’s close to

- Grew out of: [American Mid-Century Modernism](https://stylogeny.com/styles/american-modernism.md) (1940–1970)
- Influenced by: [Victorian Letterpress & Wood Type](https://stylogeny.com/styles/victorian-letterpress.md) (1810–1900)
- Influenced by: [Push Pin Style](https://stylogeny.com/styles/push-pin.md) (1954–1980)
- Alike in its design choices: [Iranian Modernist Graphic Design](https://stylogeny.com/styles/persian-modernism.md) (1960–present), 62% alike
- Alike in its design choices: [Turkish Modernist Poster & Graphic Design](https://stylogeny.com/styles/turkish-modernist-graphics.md) (1959–2000), 60% alike
- Alike in its design choices: [Seoul Independent Graphic Design (Small-Studio Scene)](https://stylogeny.com/styles/seoul-independent-design.md) (2005–present), 54% alike
- Alike in its design choices: [Ottoman Tughra & Dîvânî Chancery Calligraphy](https://stylogeny.com/styles/ottoman-tughra-divani.md) (c. 1324–present), 54% alike
- Alike in its design choices: [Woman, Life, Freedom Protest Graphics (Iran and the Diaspora)](https://stylogeny.com/styles/woman-life-freedom-graphics.md) (2022–present), 53% alike
- Alike in its design choices: [Zoomorphic & Figural Calligraphy (Islamic Calligrams)](https://stylogeny.com/styles/zoomorphic-calligraphy.md) (1500–present), 53% alike

## Sources

- https://en.wikipedia.org/wiki/Herb_Lubalin (Sudler & Hennessey from 1945; Herb Lubalin, Inc. 1964; Pistilli Roman 1964 as his first typeface; Eros, Fact and Avant Garde; ITC Avant Garde Gothic released 1970)
- https://en.wikipedia.org/wiki/International_Typeface_Corporation (founded 1970 by Aaron Burns, Herb Lubalin and Edward Rondthaler 'to design, license and market typefaces for filmsetting and computer set types')
- https://en.wikipedia.org/wiki/U%26lc (edited and designed by Lubalin until May 1981; tabloid pages; Lubalin's swash logo replaced in 1998; last print issue fall 1999)
- https://en.wikipedia.org/wiki/ITC_Avant_Garde (based on the Avant Garde magazine logo; Lubalin and Tom Carnase; condensed by Ed Benguiat, 1974; 33 alternate characters and ligatures; never cast in metal, 'cold type' only)
- https://en.wikipedia.org/wiki/Avant_Garde_(magazine) (14 issues, January 1968 to July 1971)
- https://en.wikipedia.org/wiki/Fact_(US_magazine) (January 1964 to August 1967; designed by Lubalin; Goldwater issue and lawsuit)
- https://en.wikipedia.org/wiki/Eros_(magazine) (four issues, 1962; Lubalin co-founder and art director; hardback, 13 x 10 inches)
- https://en.wikipedia.org/wiki/Tom_Carnase (Mother & Child logo of 1965 credited to Alan Peckolick and Carnase; Gastrotypographicalassemblage, 1966; Avant Garde ligatures)
- https://en.wikipedia.org/wiki/Ed_Benguiat (Photo-Lettering design director from 1962; helped establish ITC in 1970 and served as a vice president; Souvenir, Tiffany, Benguiat; ITC Lubalin Graph with Lubalin)
- Laura Forde, 'Up close and tight', Eye no. 75 (Spring 2010): 'Typographics', a word coined by Aaron Burns; Lubalin's razor-blade trimming of letters 'some barely touching, others lovingly intertwined'; Ebony ads (1968); Lubalin Graph and Serif Gothic (1974), https://eyemagazine.com/feature/article/up-close-and-tight
- Marc Thivolet, 'Lubalin Herb (1918-1981)', Encyclopædia Universalis ('en plaçant le mot child dans le « o » du mot mother'), https://www.universalis.fr/encyclopedie/herb-lubalin/
- AIGA Eye on Design, 'Design History 101: Herb Lubalin's U&lc, the First Magazine for Typeface Lovers' (24-page black-and-white first issue on tabloid newsprint; typeface credited for each article), https://eyeondesign.aiga.org/design-history-101-herb-lubalins-ulc-the-first-magazine-for-typeface-lovers/
- Fonts In Use, tag 'tight not touching': 'a spacing method common in the phototypesetting era in which letters are tracked as tight as possible without overlapping', https://fontsinuse.com/tags/1391/tight-not-touching
- UCDA, 'Herb Lubalin' (U&lc started 1973; Fact's 1964 Goldwater cover in bold type without illustration; Mother & Child as an example of his 'typographics'), https://ucda.com/herb-lubalin
- Dwell, 'New York's Hidden Graphic Design Gem' (Herb Lubalin Study Center of Design and Typography, The Cooper Union, founded 1985; Fact covers 'stark, black-and-white, and mostly typographic'), https://dwell.com/article/new-yorks-hidden-graphic-design-gem-bdf9f55d
- Walker Art Center, 'Pistilli Roman' ("collaboratively designed by Herb Lubalin and John Pistilli"; "Designed in the classical French Didot style"; "only designed and made functional for use on a typositor"; Pistilli head of lettering design at Sudler & Hennessey, employed there since 1949), https://walkerart.org/magazine/pistilli-roman
- Alexander Lawson, 'Is There an Art To Spacing?', Printing Impressions, October 1968 (the trend toward extremely tight spacing "is basically the result of the wide use of phototypesetting, particularly in display composition"; typesetters following it in metal "find themselves shaving letters for almost every job"), https://alexanderslawsonarchive.com/?p=5027
- MyFonts, 'ITC Serif Gothic' (designed by Antonio DiSpigna and Herb Lubalin; "released as a two-weight display family in 1972"; "four additional weights were added in 1974"), https://www.myfonts.com/collections/serif-gothic-font-itc
- Fonts In Use, 'ITC Serif Gothic' (designed by Herb Lubalin and Tony Di Spigna; Regular and Bold 1972; Light, Extra Bold, Heavy and Black 1974), https://fontsinuse.com/typefaces/1907/itc-serif-gothic
- Unit Editions, 'Ten things you should know about Herb Lubalin' ("a new conceptual typography which he called 'graphic expressionism'"; his 1979 essay: "Graphic Expressionism is my euphemism for the use of typography, or letterforms, not just as a mechanical means"), https://uniteditions.com/blogs/news/ten-things-you-should-know-about-herb-lubalin
- Fonts In Use, use no. 76191: The Dave Brubeck Quartet at Carnegie Hall album art (Columbia, 1963; "tight-not-touching caps from Fiedler Gothic", drawn by Hal Fiedler for Photo-Lettering; cover photo by Horn/Griner), https://fontsinuse.com/uses/76191/the-dave-brubeck-quartet-at-carnegie-hall-alb

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From Stylogeny (https://stylogeny.com/), an atlas of graphic-design styles by Van Riel Online Services. How it is made: https://stylogeny.com/about/. Cite as: Stylogeny, “Phototype Expressive Typography (Lubalin & U&lc)”, https://stylogeny.com/styles/lubalin-typographics/