In October 2010 Allan Haley announced on the blog that the complete run of U&lc had been digitized and would be made available, one year's worth per month, via PDF download from that same blog. Berry (the magazine's final editor) ISBN 0-972, was published by Mark Batty in 2005.

The last numbered U&lc issue is 42.1.1, issued in 2010.Ī book celebrating U&lc, U&lc: Influencing Design & Typography by John D. Berry wrote: 'There’ll be plenty of overlap between the print magazine and the online magazine, but they won’t be identical: some things are best done with ink on paper, others are best done on screen.' Yet the paper edition, which in 1998 had shrunk in format from tabloid pages to 8.5' x 11', did not survive for long. Because of its extraordinary blend of typographic design, illustration and cartoons (sometimes by world-renowned artists and cartoonists such as Lou Myers), verse and prose extolling the virtues of well-designed type, as well as contributions by amateur or semi-professional typographers, the magazine was avidly read by type enthusiasts and sought after by collectors the world over.Ī web version of the magazine started in 1998, along with a brand-new sans-serif logo by Mark van Bronkhorst (replacing the famous swash lettered logo by Herb Lubalin). The company published U&lc (Upper and Lower Case), a typographic magazine dedicated to showcasing their traditional and newer typefaces in particularly creative ways, originally edited and designed by Herb Lubalin until his death in May, 1981. In recent years several new revivals have been praised for showing more historical accuracy, and for not increasing the x-height to the dramatic heights of earlier ITC typeface revivals. Critics sometimes complain that, while the dramatically higher x-height increased legibility in smaller point sizes, in normal text sizes the extreme height of the lowercase characters imparted a commercial, subjective voice to texts. ITC's revival designs frequently followed a formulary of increased x-height, multiple weights from light to ultra bold, multiple widths and unusual ligature combinations, sometimes with alternate characters. Among the company's notable type designers was Ed Benguiat, the creator of Tiffany and Benguiat fonts.

Although it is claimed that the designers took care to preserve the style and character of the original typefaces, several ITC revivals, such as ITC Bookman and ITC Garamond in particular, have received criticism that the end result was related in name only to the original faces. The company issued both new designs and revivals of older or classic faces, invariably re-cut to be suitable for digital typesetting use and produced in families of different weights. The company was founded to design, license and market typefaces for filmsetting and computer set types internationally.

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