avantgarde.110west40th.comAvant Garde

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Description:Avant Garde is a seminal, but somewhat overlooked by a wider public, magazine, which broke taboos, rattled some nerves and made a few...

Keywords:Avant Garde, Ralph Ginzburg, Herb Lubalin, 1968,...

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Volume 1, January 1968 - Avant Garde
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Volume 1, January 1968 Volume 2, March 1968 Volume 3, May 1968 Volume 4, September 1968 Volume 5, November 1968 Volume 6, January 1969 Volume 7, March 1969 Volume 8, September 1969 Volume 9, November 1969 Volume 10, January 1970 Volume 11, January 1970 Volume 12, May 1970 Volume 13, Spring 1971 Volume 14, Summer 1971 Volumes About Typeface Resources Index is a seminal, but somewhat overlooked by a wider public, magazine, which broke taboos, rattled some nerves and made a few enemies. The magazine was the brainchild of Ralph Ginzburg, an eager and zealous publisher, even if the path that led to wasn’t so straightforward. It represents the third major collaboration between Ralph Ginzburg and Herb Lubalin, the magazine’s talented art director. The two previous magazines came to unexpected demise due to their candor and provocativeness, that landed them into legal trouble. is the magazine that gave birth to a much maligned and equally lauded typeface of the same name. A typeface that reveled in the mutability of letterforms, exhibited brilliantly by its extensive set of ligatured characters. The magazine’s logo, which inspired the typeface, is a perfect encapsulation of what the magazine represented in 1968, the year the magazine launched: exciting, vibrant, edgy, with just the right amount of playfulness to move it out of the corporateness its geometric sans serif forms might otherwise imply. The magazine ran for 3 years, spanning 14 square-sized issues, and only folded due to Ralph Ginzburg losing his long-running legal battle with the US government over obscenity charges (partly stemming from Ralph’s and Herb’s first collaboration Eros magazine). The strong content and the inventive design of is a testament to a close understanding that developed between Ginzburg and Lubalin, but also of a mutual respect of the boundaries set by each side. Ralph didn’t interfere in the design and Herb didn’t meddle in the editorial content. It’s a balance that magazines still strive for today. deserves a close investigation and appreciation. It still has a lot to say. — Alexander Tochilovsky Alexander Tochilovsky is the curator of The Herb Lubalin Study Center . To see the publication in person, please schedule a visit. An archival project by Mindy Seu . ( email ) Crimes against typography are committed everyday. But few typefaces have been victimized more than the late-sixties/early-seventies gothic – and the felonies persist. The reason is a surfeit of angular ligatures that offer too many cheap tricks. I know because I am a recovering abuser. Although I haven’t touched the stuff in almost thirty years, when the face was in its prime, I was hopelessly addicted. Since I had the fonts on my Phototypositor I got kicks making the most flagrantly absurd ligature combinations imaginable. Nobody, not even the face’s creator Herb Lubalin, could stop me. In fact, having seen so many abominable applications by addicts like myself, I once heard Lubalin curse the day that was released to the public. However, the revenue stream made from font sales gives this a disingenuous ring. was not originally designed as a commercial typeface. It was the logo for a magazine that its editor and publisher Ralph Ginzburg explains was a thoughtful, joyous magazine on art and politics” aimed at people ahead of their time.” The goal of the magazine, however, was not merely to reflect the cultural zeitgeist but take a lead role in purveying raucous sixties culture. In other words, it was avant garde – thus the magazine’s title, coined by Ginzburg’s wife and collaborator, Shoshana, was . The opening page of the first issue of bore this dedication set in Gothic: As most of the world’s ills are traceable to old imperatives,old superstitions, and old fools, this magazine exuberantly dedicated to the future. Before launching the magazine Ginzburg was the publisher and editor — with Herb Lubalin the art director and designer—of the erotic hardcover magazine, EROS, which folded after four issues when Ginzburg was arrested and convicted on the charge of sending prurient materials (e.g. pandering”) through the United States mails. After the trial Ginzburg wanted to start a new magazine but was prevented by his lawyers who feared it might turn out to be a hellraiser.” Ginzburg was out on bail for the EROS conviction awaiting appeal, but the process took so long—about ten years—that the magazine ultimately went into production in mid-1967. To help Lubalin develop the design scheme Ginzburg sent him a lengthy editorial outline and recalls, He came up with two beautiful logos, but they were all wrong for the publication I had in mind.” One was based on the typeface used on the old original Coca-Cola bottles, another on Hebrew letters. [Lubalin] kept associating the magazine with the nihilistic avant-garde school of art of the early 20th Century,” Ginzburg adds, but this magazine had nothing to do with that.” Instead it was for intellectuals who might also possess a sense of humor. Herb and I had always been on the same creative frequency. The concept of was the lone exception. He just couldn’t get it. And though he normally produced designs for me instantaneously, no matter how complex or challenging the job, two weeks elapsed and he still didn’t have a clue.” Exasperated, Ginzburg had Shoshana visit Lubalin at his studio to explain the concept of the magazine to him one last time. I asked him to picture a very modern, clean European airport (or the TWA terminal), with signs in stark black and white,” Shoshana recalls, Then I told him to imagine a jet taking off the runway into the future. I used my hand to describe an upward diagonal of the plane climbing skyward. He had me do that several times. I explained that the logos he had offered us for this project, so far, could have been on any magazine but that (adventuring into unknown territory) by its very name was something nobody had seen before. We needed something singular and entirely new.” Ginzburg continues, The next morning, driving to work from his home in Woodmere [New York] he pulled over to the side of the road and phoned me (the first time he ever did that). ‘Ralph, I’ve got it. You’ll see.’ And the rest is design history.” For his historic solution, Lubalin adapted gothic caps, something between Futura and Helvetica, and angular-ized the A” and V” so they fit together like a wedge of pie. He halved the T” so that one half of it was part of the N.” The perfectly round G” carved into the angular A”, which overlaid the mid-stroke and the second A” in avant was an inclined extension of the A” in garde, Both words were tightly letter-spaced to be perfectly stacked, and thus could fit as a block anywhere on the cover. According to Shoshana, The distinctive slant of the "A" was exactly the line I had made in the air when showing him that ascending jet.” Lubalin turned his rough sketch over to type designer Tom Carnase, his partner at Lubalin Smith Carnase, who rendered the final form. Herb was a scribbler,” recalls Carnase, but his scribbles were very readable.” So it would seem for anyone questioning its provenance, was entirely Lubalin’s invention. But, there were actually more intricate machinations on the way to becoming a bona fide commercial font. Lubalin decided that all department headlines should conform to the logo, and Carnase asserts that it was he alone who designed the additional characters and created all the ligatures. After making a handful of these headlines, he further realized there were almost enough characters to complete an entire alphabet, which he eventually drew, and from which a prototype film font was made for the studio’s use. had a modest circulation but was extremely popular with, among others, New York’s advertising and editorial art directors. They were so smitten by the contemporary character of the logo they clamored for freer availability of the face. Carnase recalls that Photolettering Inc. illicitly copied many...

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