Alvin Lustig

(1915–1955)

Alvin Lustig was a visionary American graphic designer, typographer, and book designer renowned for his pioneering contributions to mid-20th-century graphic design. Born in Denver, Colorado, Lustig demonstrated an early passion for art and design, which led him to study at Los Angeles's Art Center School.

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In the 1940s and 1950s, Lustig's innovative approach to design made him a leading figure in the modernist movement. His work spanned various design disciplines, from book covers and typography to magazine layouts and exhibition design.

Most Iconic

Works

01.

New Directions Book Covers

(1919)

Alvin Lustig's book cover designs are celebrated for their modernist aesthetics and bold use of typography. His covers for New Directions Publishing, in particular, transformed book design by prioritizing visual impact and conceptual storytelling. Lustig's covers for classic literature remain influential and timeless.

02.

Euclid Typeface

(1930s)

Lustig's creation of the Euclid typeface is a testament to his innovation in typography. Euclid is a geometric sans-serif typeface known for its clean lines and simplicity, making it a precursor to the modernist design movement. It continues to be admired for its timeless design.

03.

Fortune Magazine Layout

(1940s–1950s)

Lustig's groundbreaking layouts and covers for "Fortune" magazine from 1941 to 1952 demonstrated his ability to marry image and typography in compelling ways. His avant-garde designs for the magazine pushed the boundaries of editorial design.

The legacy

Alvin Lustig's legacy is marked by his daring and experimental approach to graphic design. His book cover designs challenged conventional norms and continue to influence contemporary book cover art.

The Euclid typeface remains a testament to his contributions to typography. Lustig's avant-garde designs for "Fortune" magazine paved the way for innovative editorial layouts. His work exemplifies the potential of design to evolve and challenge tradition.

"The words graphic designer, architect, or industrial designer stick in my throat, giving me a sense of limitation, of specialisation within the specialty, of a relationship to society and form itself that is unsatisfactory and incomplete. This inadequate set of terms to describe an active life reveals only partially the still undefined nature of the designer."

Alvin Lustig