 The magazine was printed on a budget, so Lubalin stuck with black and white printing on uncoated paper, as well as limiting himself to one or two typefaces and paying a single artist to handle all illustrations at bulk rate rather than dealing with multiple creators.The end 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.