DESIGN CAPSULE LANI HANSON GRPH 223-001 TYPOGRAPHY I STACY ASHER SPRING 2015
I think Emigre magazine is a time capsule of an exciting time in design’s history that we were privileged to experience and participate in. ZUZANA LICKO
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orn in The Hague, Holland, in 1955 and educated at the Royal Academy of Fine Art from 1974 to 1979, Rudy VanderLans had wanted to be an illustrator, and although the Academy didn’t have a specific curriculum for illustration, the graphic design department offered classes in life drawing and illustration. Modeled after the functionalist ideologies of the International Style, the program put great emphasis on the importance of the grid and clarity of the message,
leading VanderLans to believe that design was very exact, like a science. Before receiving his diploma in graphic design, VanderLans had to first work as an apprentice. His first job was a three-month apprenticeship with Total Design in Amsterdam, which, at the time, was one of the largest and most prominent design studios in the country. After his apprenticeship, he began working full time at Vorm Vijf in The Hague, a small studio founded by two Academy graduates, then joined
Tel Design. The bulk of his work at these two studios involved designing and developing corporate identities. VanderLans, disappointed in his experience of graphic design as a primarily organizational discipline, decided to take some time off to travel to the U.S. He applied for graduate studies at the University of California at Berkeley, where he studied photography from 1981 to 1983. It was here he met his future wife and business partner, Zuzana Licko.
RUDY VANDERLANS
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t age 7, Zuzana Licko emigrated to the U.S. from her hometown of Bratislava, Czechoslovakia, where she was born in 1961. She began studying architecture at the University of California, Berkeley, in 1981, where she took an entry-level computer programming class and experimented for the first time with the designing low-resolution type. During the summer, Licko would visit her father, a biomathematician at the University of California at San
Francisco, whom she assisted with data processing. It was here she designed her first typeface: a Greek alphabet that her father used in writing his scientific papers. After two years studying architecture, Licko decided to change her major to visual studies. At the time, the design department was being phased out and – offering a loose, nondescript curriculum – allowed Licko to freely explore various directions. Soon, Licko realized an interest in
typography and was especially fascinated by experimenting with type as illustration. There was no program for type design at Berkeley, however, so Licko was only able to use typefaces, not create them. Licko met VanderLans in the halls of the architecture building and was intrigued by the projects he showed her. The couple was married in 1983. After working for graphic designer Gordon Chun in Berkeley, Licko realized she wanted to work for herself and began working as a freelance designer in 1985.
1984
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Left to right: Emigre Nos. 1 through 5. The magazine’s first issues were produced using traditional pasteup techniques. emigre.com
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iscouraged by the struggle of getting their personal work published, Rudy VanderLans and a group of Dutch artists opted to start their own magazine in 1983, which they believed would be the perfect way to showcase their own work and that of like-minded artists. Failing to secure funding for the project they called “Dutch Punch” – a magazine about Dutch artists living on the West Coast – the group decides to self-publish their magazine, and Emigre is born. Broadening the publication’s focus to include global artists whose work is
influenced by their travels, the group publishes 500 copies of Emigre’s first issue a year later. The limited edition magazine’s layouts feature the work of artist friends ranging from architects to poets to photographers, and are created with Xeroxed imagery and typewriter type. Soon, Emigre adopts a tagline: “The magazine that ignores boundaries.” In a letter sent to potential advertisers in 1984, Emigre’s focus is described as “the unique perspective of contemporary poets, writers, journalists, graphic
designers, photographers, architects, and artist who live or who have lived outside their native countries.” As the second issue of Emigre is being produced in 1984, the Apple Macintosh is released, followed by MacWorld, a new magazine devoted to the computer. MacWorld’s art editor, Bruce Charonet – who knew VanderLans through his work for the San Francisco Chronicle – invites VanderLans and Licko for a trial run of the 182K Macintosh. Immediately impressed by its capabilities and how
easy it was to use, the couple buys their first Macintosh two weeks later. After two years, his partners turn their attention elsewhere, and VanderLans is left to do what he wants with the magazine, money permitting. He starts working only part-time at the San Francisco Chronicle to make more time to work on Emigre and his freelance work. Licko contributes as Emigre’s resident type designer, but isn’t involved from an editorial standpoint. Instead, VanderLans collects samples from and conducts interviews with artists around
the country and around the world. Sometimes produced on a quarterly basis, but more often irregularly, Emigre becomes a dedicated graphic design journal, addressing the need for change in graphic design and facilitating heated discussion of unconventional and antimodernist graphic design. After publishing 32 issues, the size of the magazine shrinks to an 8.5-by11 inch format from its original tabloid size, and, in 1997, the Museum of Modern Art purchases Emigre’s back issues for its permanent collection.
Often regarded as one of the most progressive graphic design journals of the digital age, Emigre published its final issue in 2005. Since discontinuing the magazine, VanderLans and Licko have changed their focus to promoting and selling typefaces via their type foundry, Emigre Fonts. The couple also sells collectible poster and type specimen collections, limited back issues of Emigre Magazine, books and one-of-a-kind hand-made ceramics by Zuzana Licko via their website, emigre.com.
IGNORED BOUNDARIES Left to right: Emigre Nos. 6 through 10. The first 32 issues of the magazine were published in a tabloidsized format. emigre.com
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rom the second floor of a Berkeley apartment, Zuzana Licko’s new best friend – the Apple Macintosh computer – facilitates some of her first experimentations with type design.
Unable to afford more than typewriter type, VanderLans uses Licko’s lowresolution typefaces in the layout of his magazine, and while many designers regard the new layouts and typefaces
with disgust, it doesn’t take long until the couple starts receiving requests for copies of Licko’s typefaces. Emigre’s type foundry, Emigre Fonts, is born, and quickly becomes the financial engine
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that sustains the magazine for nearly two decades. In 1997, the couple takes a huge financial risk and publishes 43,000 copies of the magazine, up from its usual
3,000-5,000. The magazine’s nearly 40,000 subscribers receive free copies, and the opportunity to show Emigre’s fonts in action to a larger audience leads to a steep increase in typeface sales that
FONT LIBRARY EMIGRE T YPE LIBR ARY
EMIGRE T YPE LIBR ARY
offset the cost of printing. Often, it was in the magazine where Licko’s typefaces were first put to use, but many fonts have been reworked and refined since the articles first appeared.
EMIGRE T YPE LIBR ARY
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BIBLIOGRAPHY Drucker, Johanna, and Emily McVarish. “Chapter 15: Digital Design.” Graphic Design History. 2nd ed. Boston: Pearson, 2013. 310-329. Print.
Written by Johanna Drucker – a professor of biological studies at the University of California, Los Angeles – and Emily McVarish – a professor of graphic design at California College of the Arts – “Graphic Design History” is a critical guide to graphic design history from 35,000 BCE to the early 2010s. Chapter 15 offers a brief overview of the design zeitgeist from the 1970s through 2000s.
Heller, Steven. “Chapter 9: Pixel Pirates.” Merz to Emigre and Beyond. London: Phaidon, 2003. 206-224. Print.
Steven Heller has authored and edited more than 130 books on graphic design, satiric art and popular culture. Covering avant-garde magazine design of the 20th century, “Merz to Emigre and Beyond” provides historical context and analysis of Emigre’s cultural significance from the mid-1980s to 2000.
VanderLans, Rudy, and Zuzana Licko. Emigre (the Book): Graphic Design into the Digital Realm. New York: Van Nostrand Reinhold, 1993. Print.
Published as a 10-year celebration of Emigre Magazine and written by Rudy VanderLans and Zuzana Licko themselves, “Emigre (the book)” offers a more in-depth background of the authors, as well as a chronological presentation of Emigre’s constantly changing work and ideas during its first 10 years of publication.
VanderLans, Rudy. Emigre No. 70: The Look Back Issue. Berkeley, Calif.: Gingko, 2009. Print.
Rudy VanderLans’s anecdotes, which are interspersed between selections from Emigre Magazine Nos. 1 through 69, tell a beginning-to-end story of the magazine and type foundry from a firstperson point of view. “Emigre No. 70” stands as a record of the magazine’s contribution to graphic design.
“Emigre Essays.” Emigre. Web. 1 June 2015. <http://emigre.com/Editorial.php>. The official website of Emigre Magazine and Emigre Fonts, emigre.com’s collection of essays include a selection from the magazine, as well as essays on Emigre, type and typography and interviews with Zuzana Licko and Rudy VanderLans.
For me, like many others galvanized by graphic design during Emigre’s heyday, the magazine was the most consistently interesting design publication produced anywhere by anyone. RICK POYNOR