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Gruppo 03.Pdf CONTENTS Compiled and edited by Yang Yuxin Chen Rui Tian Junyao Herb Lubalin: He Shaped Modern Design AIGI Medalista: Lubalin 3 Peace on Earth Good Will Toward All Men 9 The Most Avant-garde Designer of All 14 U&lc: the Most Prestigious Magazine in Typesetting 18 Gianni Berengo Gardin: Man in Black and White Images of Human Toil and Struggle 23 Berengo’s Take on Photography 27 “A Leica isn’t just any camera, it is THE camera” 39 “On a Vaporetto, Venice” 41 Tina Modotti: Beauty, Politics, Passions and Revolution The Incredible Story of Tina Modotti 46 Spain, Russia and an Unclear End 50 Her Legend Returns Home 53 Tina Modotti and the Importance of Honest Photograph 57 w Herb Lubalin He Shaped Modern Design by Yang Yuxin Herb Lubalin (1918-1981) was an American graphic designer, type designer, typographer and teacher. Studyded design at Cooper Union in New York and graduated in 1939. In the same year, he worked for the World Exhibition in New York. After that the magazines "Eros", "Avant Garde", "Fact", and "U & lc" designed in the 1960s brought a huge impact to graphic design in Europe and America. In 1964 he set up his own studio, Herb Lubalin Inc. Then founded the International Font Company (ITC) with Aaron Burns in New York in 1970. 1972-1981, taught at Cornell University and the Cooper Union in New York. In 1981, awarded the highest honor by the Professional Design Association of the United States. He recevied more than 500 awards in his life, along with Sol Bath and Paul Lang, is known as the greatest trio of American graphic design. AIGA, Herb Lubalin,1980 https://en.wikipedia.org/wiki/Herb_Lubalin 1 2 AIGI Medalista: Lubalin Herb Lubalin was two years written about, imitated and been old when AIGA awarded its first recognized, awarded, written medal to the individual who, about, imitated and emulated for in the judgment of its board of it. There's hardly anyone better directors and its membership, known and more highly regarded had distinguished himself in, in the business. Lubalin's receipt and contributed significantly of AIGA's highest honor was to, the field of graphic arts. That never a matter of “if”, only “when”. individual was Norman T. Munder. Coming to terms with Herb There has been a lot of history Lubalin's work takes you quickly between that moment and the to the heart of a very big subject: evening in January 1981, when the theory of meaning and how members, directors, friends and meaning is communicated— admirers gathered in the Great how an idea is moved, full and Hall of the New York Chamber of resonant, from one mind to Commerce building to be with another. Not many have been Lubalin as he accepted the 62nd able to do, typography is a key. AIGA medal. A lot of that history, It is where you start with Lubalin at least in the graphic arts, had and what you eventually come been written—and designed— back to. But, “typography” is not a by Herb Lubalin. And Lubalin word Lubalin thought should be Alphabet, Lubalin graph, 1975 has been recognized, awarded, applied to his work. “What I do is emulated for it. not really typography, 3 4 which I think of as an essentially mid-60s, lush and luscious Avant mechanical means of putting Garde late in the same decade, characters down on a page. It's and founded U & lc in 1973 and designing with letters. saw it flourish into the 80s. Aaron called it 'typographics', But it is Lubalin and his and since you've got to put a typographics - words, letters, name on things to make them pieces of letters, additions memorable, 'typographics' is a to letters, connections and good as a name for what I do combinations, and virtuoso as any” Lubalin was a brilliant, manipulation of letters - to iconoclastic advertising art which all must return. The director - in the 1940s with Reiss “typographic impresario of our Advertising and then for twenty time,” Dorfsman called him, a years with Sudler and Hennessey. man who “profoundly influenced Recipient of medal after medal, and changed our vision and award after award, and in 1962 perception of letter forms, words named Art Director of the Year and language.” by the National has also been Lubalin at his best delivers the a publication designer of great shock of meaning through his originality and distinction. He typography - based design Avant designed startling Eros in the Garde literally moves ahead. The Magazine Cover, Avant Garde, Herb Lubalin, 1969 early 60s, intellectually and Sarah Vaughn ahead. The Sarah visually astringent Fact in the Vaughn Sings poster does just 5 6 The Next War, Herb Lubalin, 1972 that. Ice Capades skates. There is career get pulled together. It is to our times goes well beyond beyond the boundaries of “good a child in Mother & Child, and a publication dedicated to the design in much the same way taste” though in retrospect that family in Families. If words are a joyful, riotous exploration of the that his typographic innovations work is more notable today for way of making meaning, then the complex relationships between go beyond the twenty-six letters, its graphic excellence than for shapes of their letters give voice, words, letters, type and meaning ten numerals and the handful of its purported prurience. Lubalin color, character and individuality - an ebullient advertisement for punctuation marks that comprise helped push back the boundaries to that meaning. The shock of himself as art director, editor, our visual, literal vocabulary. of the impact and perception meaning, in Lubalin's artful hands, publisher and purveyor of the Lubalin's imagination, sight and of design - from an ill-defined, delivers delight, as well, delight shock and delight of meaning insight have erased boundaries narrowly recognized craft to that flows from sight and insight. through typography and design. and pushed back frontiers.As an a powerful communication “Lubalin,” praises Dorfsman, “used “Right now,” he said, “I have agency art director, he pushed medium that could put big, his extraordinary talent and taste what every designer wants and beyond the established norm important ideas smack in the to transform words and meaning few have the good fortune to of copy-driven advertising and public eye.And finally, he pushed from a medium to an inextricable achieve. I'm my own client. added a new dimension.As a back what were believed to be part of the message? and in so Nobody tells me what to do.” And publication designer, he pushed the boundaries of design for doing, raised typography from 170,000 subscribers which, with a beyond the boundaries that entire generations of designers the level of craft to art.” And it conservative pass-along estimate, constrained existing magazines who were to follow. is in his paper U & lc that a lot yields 400,000 readers, benefit. - both in form and content. In of threads in Lubalin's life and Herb Lubalin's unique contribution fact, some said he had pushed https://www.aiga.org/medalist-herblubalin/ 7 8 Herb Lubalin: Peace on Earth Good Will Towards All Men From the 1980 AIGA Medal Profile: Advertising and then for twenty "Coming to terms with Herb years with Sudler and Hennessey. Lubalin's work takes you quickly Recipient of medal after medal, to the heart of a very big subject: award after award, and in 1962 the theory of meaning and how named Art Director of the Year meaning is communicated -- by the National Society of Art how an idea is moved, full and Directors, he has also been a resonant, from one mind to pu-blication designer of great another. Not many have been originality and distinction. He able to do that better than designed startling Eros in the Lubalin. early 60s, intellectually and "Typography is the key. It is where visually astringent Fact in the you start with Lubalin and what mid-60s, lush and luscious Avant you eventually come back to. Garde late in the same decade, However, "typography" is not a and founded U & lc in 1973 and word Lubalin thought should saw it flourish into the 80s. be applied to his work. "What But it is Lubalin and his I do is not really typography, typographics -- words, letters, which I think of as an essentially pieces of letters, additions mechanical means of putting to letters, connections and characters down on a page. combinations, and virtuoso It's designing with letters. Aaron manipulation of letters -- to Burns called it, 'typographics,' which all must return. The and since you've got to put a "typographic impresario of our name on things to make them time," Dorfsman called him, a memorable, 'typographics' is as man who "profoundly influenced good a name for what I do as and changed our vision and any." perception of letter forms, words "Lubalin was a brilliant, and language." Advertisement, Herb Lubalin, 1959 iconoclastic advertising art "Lubalin at his best delivers the director -- in the 1940s with Reiss shock of meaning through his 9 10 Some Of Our Best Friends, Herb Lubalin, 1968 typography-based design. Avant paper U & lc that a lot of threads goes well beyond design in work is more notable today for Garde literally moves ahead. The in Lubalin's life and career get much the same way that his its graphic excellence than for Sarah Vaughn Sings poster does pulled together. It is publication typographic innovations go its purported prurience. Lubalin just that. Ice Capades skates. dedicated to the joyful, riotous beyond the twenty-six letters, helped push back the boundaries There is a child in Mother & Child, exploration of the complex ten numerals and the handful of of the impact and perception and a family in Families.
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