[8] He designed versions of Reader's Digest, New Leader and the entire series of Eros magazine, the last of which was the subject of a U.S. Supreme Court case on obscenity, Ginzburg v. United States 383 U.S. 463 (1966).

[9] In Lubalin's private studio, he worked on a number of wide-ranging projects, from poster and magazine design to packaging and identity solutions.

This magazine's inherent anti-establishment sentiment lent itself to outsider writers who could not be published in mainstream media; Fact managing editor Warren Boroson noted that “most American magazine, emulating the Reader's Digest, wallow in sugar and everything nice; Fact has had the spice all to itself.”[10] Rather than follow with a shocking design template for the publication, Lubalin chose an elegant minimalist palette consisting of dynamic serifed typography balanced by high-quality illustrations.

The result was one of dynamic minimalism that emphasized the underlying sentiment of the magazine better than “the scruffy homemade look of the underground press [or the] screaming typography of sensationalist tabloids” ever could.

[10] The creation of the magazine's logogram proved difficult, largely due to the inherent difficulties presented by the incompatible letterform combinations in the title.

[10] The demand for a complete typesetting of the logo was extreme in the design community, so Lubalin released ITC Avant Garde from his International Typeface Corporation in 1970.

I never tried to overrule him, and almost never disagreed with him.”[10] Other issues included a portfolio of Picasso's oft-neglected erotic engravings, which Lubalin willingly combined with his own aesthetic, printing them in a variety of colors, in reverse, or on disconcerting backgrounds.

Unfortunately, Avant Garde again caught the eye of censors after an issue featuring an alphabet spelled out by nude models; Ralph Ginzburg was sent to prison, and publication ceased with a still-growing circulation of 250,000.

Lubalin spent the last ten years of his life working on a variety of projects, playing a key role in the International Typeface Corporation and its typographic journal U&lc (short for Upper and lower case).