My fascination with type began with the publication U&lc. There may be a new kid on the block.

A vintage illustration, Stulla numerals from U&lc magazine.
Illustration, Stulla numerals from U&lc magazine.

In the early 70s, I was in the waiting room of Modernage, one of the hundreds of photo duplication houses in New York. I was having some headshots printed. On the magazine table—mixed in with a hodgepodge paper coffee cups, ashtrays, and months-old issues of Popular MechanicsTime, Better Homes & Gardens, Weekly Variety, American Angler, Hollywood Reporter, and Backstage—was a newsprint tabloid that I’d never seen before. It caught my eye.

It was U&lc

The logo was a moniker, shorthand, for “Upper and lower case,” it was one of the first successful, long-term publications produced specifically for the design community. A product of International Typeface Corporation (ITC), U&lc was edited by graphic designer, Herb Lubalin—some say he was a visual genius, others say he was simply Avant Garde. It was published from 1970 until the fall of 1999.

The tabloid was a curious, visual treat. I tore out the page that contained the masthead, folded it, and put it in my pocket; when I got home I cut out the response coupon with my orange-handled Fiskar scissors, filled it out, wrote a check, put both in an envelope, addressed and stamped the envelope, walked to the end of the hall, and dropped it down the mail-shoot to the post box 17 floors below. (It took some effort to subscribe to a publication in those days.)

I was a fan of U&lc and read almost every issue, cover to cover, until cost-cutting at ITC in the mid-80s caused the publication to be reduced to an unimpressive 8.5 x 11 inches. With the move to a smaller size came a more conservative editorial view, a change in paper stock, and an introduction of some corporate-safe color choices.

U&lc had lost its immediacy, its cutting-edge approach, and the feeling that it was delivering relevant design news. The early U&lc was celebrated for its strength and dynamism, it was also a fragile platform. It cost a ton of money to produce and advertising didn’t come close to covering basic costs.

I’m hearing some promising buzz around a new quarterly publication called TYPE. Issue No. 1 published September 2017.

It’s billed as “A publication for people who love fonts—typography, calligraphy, lettering, sign painting—letterforms of all kinds.”

I’m going to give it a go. There’s a digital version and a print version. Here’s the skinny:

Sign up as a Charter Member and support the mission of TYPE:  To provide an ongoing narrative for the type community. 

  • You will receive all the print issues in 2018—mailed to an address in the United States. (For addresses outside the U.S., see below.)
  • Access to an exclusive digital facsimile edition.
  • Invitations to TYPE events through the year. We’re planning talks, workshops, and exhibits at a variety of venues and conferences.
  • Bonus: One free classified ad—to appear in print and online.  Copy: 140 characters. Illustration: A square (SVG vector, or a JPG 500+ dpi). The post stays online for three months!
  • If you sign up as a Charter Member and did not get a copy of  TYPE No. 1, let us know by e-mail, and we’ll send it to you, at no extra charge.

TYPE Magazine is a non-profit organization, registered in Florida. Contributions are tax-deductible in the United States.

By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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