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	Emigre - Wikipedia, the free encyclopedia
		Emigre is a type foundry in Sacramento, California, founded by Rudy VanderLans and Zuzana Licko.
		Through a good part of the late 1980s and most of the 1990s, some of the most cutting-edge typefaces were developed or released by Emigre.
		Its magazine, in the meantime, provided an outlet showcasing the potential of its typeface designs, and was well known for its graphical experimentation.
	en.wikipedia.org /wiki/Emigre (141 words)

	Graphic design article - Graphic design Lascaux Book Kells Johann Gutenberg movable type typefaces typographers - ... (Site not responding. Last check: 2007-11-05)
		This was massively influential on a generation of new graphic designers and contributed to the founding of publications such as Emigre magazine.
		Together with her husband Rudy VanderLans they founded the pioneering Emigre magazine and the Emigre type foundry.
		Emigre magazine became the bible for digital design as the technology rapidly advanced to the point where the advantages outweighed the disadvantages.
	www.what-means.com /encyclopedia/Graphical (1093 words)

	HOWdesign.com - Design & Creativity
		And the idea for the magazine was to feature the work of artists, designers, writers, etc. who had the experience of living and working in different countries.
		And the magazine became the testing ground for the use of these fonts, and it also allowed us to discuss graphic design and type design issues in a way that we felt other magazines were not.
		Emigre magazine allows us to promote and showcase our fonts, provide a context for their use, and it has helped establish the name and brand of Emigre fonts.
	www.howdesign.com /dc/features/vanderlans1.asp (798 words)

	eye \| review
		Emigre is ten years old and the book pursues a chronological path from its tentative beginnings as a cultural tabloid with a debt to Rotterdam's Hard Werken magazine to the present.
		Emigre sets out to show work overlooked by the 'major design magazines and design competitions' with the aim of providing a 'more complete picture of the state of graphic design'.
		Emanating from Emigre HQ, this was never going to be the book that set the phenomenon properly in context, or even began to explain its impact and importance for the world of design publishing and digital type.
	www.eyemagazine.com /review.php?id=43&rid=345 (858 words)

	Emigre
		Emigre attempts to offset the long-accepted imbalance between form and content, to make full use of the printed page, and to create a richer interpretation of the underlying text.
		Emigre pushes this particular point by regularly using its own highly individual fonts, which would be considered "display faces" by many conservative designers (and undoubtedly completely avoided by others), in solid running text in the magazine.
		Though the "Emigre style" is easily abused, in the right hands it is stunning by its very nature, and this is due in large part to the wonderful anarchy and unpredictability inherent in it.
	wfmu.org /~davem/docs/emigre.html (1931 words)

	Emigre magazine - Wikipedia, the free encyclopedia
		Emigre is a graphic design magazine first published in 1984 in San Francisco, California, USA.
		Emigre was one of the first publications to use Macintosh computers and had a big influence on graphic designers moving into Desktop Publishing (DTP).
		Less radical and influential now than in its heyday Emigre continues to produce editions on a sporadic basis.
	en.wikipedia.org /wiki/Emigre_magazine (125 words)

	creativepro.com - dot-font: Emigre Migrates to a New Format
		Emigre (the magazine) has shrunk again, while Emigre (the digital type foundry) is producing a new series of typeface showings in the new, smaller format.
		The cover is generic, showing the Emigre logo but no example of the typeface in question; essentially, the outer sheet of this saddle-stitched booklet is the mailer, with postal information on the back and a lot of product and ordering information on the inner side.
		The new "Emigre" and the new type-specimen booklets are both challenges and tools: challenges, as always, to our assumptions about type and its use, and tools for creating new graphic design.
	www.creativepro.com /printerfriendly/story/16568.html (850 words)

	AIGA - Zuzana Licko and Rudy VanderLans
		Emigre was originally intended as a cultural journal to showcase artists, photographers, poets, and architects.
		Emigré became a full-fledged graphic design journal in 1988 with issues ten, produced by students at the Cranbrook Academy of Art in Michigan.
		Emigré, which has been famous for making the most of low-budget production values, has converted to full color with its 42nd issue, which was sent to the Emigré mailing list of 43,000 and is being offered free to anyone who fills out a reply card.
	www.aiga.org /content.cfm?ContentAlias=zuzanalickoandrudyvanderlans (2131 words)

	Rudy Vanderlans Speaks Up (Site not responding. Last check: 2007-11-05)
		One year it’s ‘Emigre is great, they are on the leading edge of Graphic Design’ and the next year it’s ‘Emigre is so five minutes ago and so overrated?’ Is it hard to please all the people all the time?
		Emigre magazine provides a view into what we like and what is important to us, and it’s often very subjective and opinionated.
		In most design magazines the emphasis is clearly on the visuals, and the editorial is secondary, it’s just there to support the visuals.
	www.underconsideration.com /speakup/interviews/rudy.html (2179 words)

	Wired 1.05: Emigre
		Zuzana Licko and Rudy VanderLans are the founders of Emigre, a mom-and-pop, electronic-cottage industry that began as a magazine, became one of the first electronic type foundries, created its own music label, and recently published its first book, Graphic Design into the Digital Realm.
		The book documents Emigre magazine's ten-year history of stunning typographic and visual experimentation, and also functions as a visual history of the Macintosh-spawned desktop publishing revolution.
		In 1983, they launched Emigre as "the magazine that ignores boundaries." That description proved more prophetic than anyone might have imagined, as the magazine was published a year prior to the introduction of the Macintosh.
	www.wired.com /wired/archive/1.05/emigre.html (353 words)

	Typotheque: Rudy VanderLans, editor of Emigre by David Casacuberta and Rosa Llop
		When Emigre started it was meant to be a magazine for emigrant artists and their experiences.
		So the magazine was no longer about the idea of being and emigrant, but we kept the name, because it was by then somewhat established.
		Maybe that was the function of Emigre in the very early days, when the Macintosh had just been introduced, and there was, what you could call, a subcultural movement of a few people who were interested in exploring this strange new design tool.
	www.typotheque.com /articles/rudy_vanderlans_editor_of_emigre (3089 words)

	Book Review of Emigre (Site not responding. Last check: 2007-11-05)
		Emigre magazine was one of the first to use desktop computer type and graphics.
		Rudy VanderLans and Zuzana Licko were quick to adopt the Macintosh when it came out in 1984 and to adapt it to the needs of their "on the edge" journal of ideas and images from an international stable of designers and illustrators.
		A seminal work, Emigre is required reading for anyone who expects to work intelligently in the field of publication graphics.
	www.cunepress.com /cunemagazine/imps/reviews/emigre.htm (182 words)

	eye \| feature (Site not responding. Last check: 2007-11-05)
		Her early Emigre fonts not only revolutionised digital typography but also opened up the market for the smaller foundries whose quarter-page ads populate today’s design magazines.
		The ‘Emigre aesthetic’ lay at the heart of a once-controversial battle on the American design scene, pitting them against Modernists such as Massimo Vignelli, who referred to the new typography as ‘garbage’.
		Most of the fonts in the Emigre library were released prior to the announcement of the euro currency, so we have to go back and design this character for every font.
	www.eyemagazine.com /feature.php?id=62&fid=272 (3596 words)

	Other Type Foundries (Site not responding. Last check: 2007-11-05)
		Emigre, Inc. is a digital type foundry, publisher and distributor of graphic design related software and printed materials based in Northern California.
		Emigre's full line of typefaces, ornaments and illustrations is available in Type 1 Postscript and TrueType for both the Macintosh and PC.
		Emigre typefaces have won numerous awards and Emigre is the 1994 recipient of the prestigious Chrysler Award for Innovation in Design.
	www.castletype.com /other_foundries.html (672 words)

	YouWorkForThem \| Magazines: Emigre: Issue 66
		Now, Emigre has transitioned into a new format, a return-to-roots series of "pocketbooks," focusing on critical writing about the state of graphic design.
		Emigre invites designers, teachers, and critics to challenge today’s young designers to develop a critical attitude toward t...
		Merz to Emigre is a historical survey of avant-garde cultural and political magazines and newspapers from the early 20th century to the present day.
	youworkforthem.com /product.php?sku=P0275 (341 words)

	Interview with Rudy VanderLans (page 3)
		I often hear people talk about the ''Emigre Style,'' but I've never heard anybody explain what exactly that is. When selecting fonts for commercial release, originality is important, of course, but originality manifests itself in so many different ways, and is a highly subjective term.
		Adobe, Emigre and a handful of other small foundries have been very aggressive in taking legal action against font pirates, and with great success.
		We related it to poster design, magazine design, etc. To find this perfect balance between making something legible but also attractive, appealing, and engaging to the user, is exactly the great challenge of design.
	www.gingkopress.com /_zine/emigre/1e03.htm (948 words)

	MyFonts.com Adds Its 100th Font Foundry
		Emigre, founded by Zuzana Licko and Rudy VanderLans, is a digital type foundry and publisher of the design journal Emigre magazine.
		Based in Northern California, Emigre was there, in the eye of the storm, when the Macintosh computer was first introduced in 1984.
		Emigre magazine, while a prime showcase for the use of Emigre fonts, has developed into a journal exploring graphic design in the widest sense of the term.
	www.bitstream.com /corporate/news/press_2002/type_021210_myfonts100.html (447 words)

	Interview with Rudy VanderLans (page 5)
		It's just like freaking out in a sense.'' (Massimo Vignelli, Print Magazine, 14/5, 1992) Emigre was attacked by ''the old guard'' for countless times in countless ways.
		Fighting is a big word, but Emigre has always veered towards showcasing graphic designers who work for cultural organizations, or who initiate their own projects, or who are teachers, as opposed to showcasing design firms whose resumes read like a Fortune 500 listing.
		In your introduction to Emigre 16 you mention that you ''receive countless numbers of unsolicited printed and recorded material of all kinds.'' The quantity should be even more overwhelming now.
	www.gingkopress.com /_zine/emigre/1e05.htm (909 words)

	Warsaw Voice - The End of an Epoch (Site not responding. Last check: 2007-11-05)
		Jerzy Giedroyc, creator of the Kultura monthly, the most famous Polish emigre magazine, died of a heart attack in a suburban Paris hospital Sept. 14.
		It is enough to mention some of the authors who appeared in the magazine, including the Nobel prize winner Czesław Miłosz, Gustaw Herling-Grudziński, the author of Inny Świat (Another World), the legendary writer Witold Gombrowicz and Leopold Unger, one of the Polish emigre community's most respected political publicists.
		It's no surprise that Kultura was an officially forbidden magazine, fought against by the communists and smuggled into Poland from the West in 1947-89.
	www.warsawvoice.pl /archiwum.phtml/10444 (598 words)

tag. Be sure to replace "JOMC Student" with YOUR name--> Lindsay Mangum's Research</a></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> I chose to research design <b>magazines</b> because, as a design major, I read several looking for inpiration, new technologies and programs, and instruction and tips.Design is what interests me most. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> My intentions for this research are to find out about other <b>magazines</b> that be of interest to me, to get an idea of specialized <b>magazines</b> pertaining to certain types of design (i.e. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> These <b>magazines</b> are important for the reason that they serve as a forum for designers and artists to display their work.</td></tr> <tr><td></td><td colspan=2><font color=gray>www.unc.edu /~lmangum/research.html</font> (553 words)</td></tr> </table> </td> </tr> </table><body face="Arial"> <br> <table cellpadding=0> <tr> <td> </td> <td> <table > <tr><td> </td><td colspan=2><u>Commentary Magazine - The Emigre Doctor Finds His Place</u> <i>(Site not responding. Last check: 2007-11-05)</i></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> ...Although the <b>emigr</b> 6 physicians have had a difficult time, what with language handicaps and restrictions in licensing procedure, they have been offered better opportunities in America than in any other country in the world... </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> ...The Surgeon-General has accepted a considerable number of foreign physicians for the armed services, and many <b>emigres</b> have welcomed this means of acquiring the citizenship which is still a primary requirement of licensure in many states... </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> ...JAMEs RORTY tells the stories of some of these <b>emigre</b> physicians and of the problems of personal and social integration which they must still face, and the light that their experience throws on some continuing medical problems in our society...</td></tr> <tr><td></td><td colspan=2><font color=gray>www.commentarymagazine.com /Summaries/V18I2P41-1.htm</font> (4737 words)</td></tr> </table> </td> </tr> </table><body face="Arial"> <br> <table cellpadding=0> <tr> <td> </td> <td> <table > <tr><td> </td><td colspan=2><a href="http://www.myaimistrue.com">My Aim Is True</a></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> Founded in 1984 as a cultural journal to showcase artists, photographers, poets, and architects, <b>Emigre</b> <b>magazine</b> became one of the most influential and controversial graphic design forums in the field’s history. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> <b>Emigre</b> was one of the first independent type foundries to establish itself centered on personal computer technology. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> <b>Emigre's</b> designs have won numerous awards; it is the 1994 recipient of the prestigious Chrysler Award for Innovation in Design, the 1996 Publish <b>Magazine</b> Impact Award, the AIGA Gold Medal Award in 1997, and the 1998 Charles Nyples Award.</td></tr> <tr><td></td><td colspan=2><font color=gray>www.myaimistrue.com</font> (2217 words)</td></tr> </table> </td> </tr> </table><body face="Arial"> <br> <table cellpadding=0> <tr> <td> </td> <td> <table > <tr><td> </td><td colspan=2><a href="http://www.typeright.org/feature8.html">TypeRight Feature: Copping an Attitude</a></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> The discussion about Erik Spiekermann's "Meta" in Eye <b>magazine</b> and the ruse over a customized version of Martin Majoor's "Scala" in the recent AIGA Journal are but two recent examples. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> The making and selling of typefaces are perhaps experiencing one of the most exhilarating times in their history, much of it the result of the democratizing effect the <a href="/topics/Apple-Macintosh" title="Apple Macintosh" class=fl>Macintosh</a> computer has had on this 500 year old tradition. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> At <b>Emigre</b>, we have always encouraged the customizing of our fonts and have enjoyed seeing the curious alterations—sometimes so surprisingly effective we wish we had thought of them ourselves.</td></tr> <tr><td></td><td colspan=2><font color=gray>www.typeright.org /feature8.html</font> (2587 words)</td></tr> </table> </td> </tr> </table><body face="Arial"> <br> <table cellpadding=0> <tr> <td> </td> <td> <table > <tr><td> </td><td colspan=2><a href="http://www.du.edu/~marnoldm/classes/2325/links.html">...::: | | | Fundamentals of Design: Links | | | :::...</a></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> <b>[Emigre's]</b> goal is to ask the question WHY over and over and over again to see what motivates designers and to figure out what role design plays within our culture. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> Graphic design is a relatively young profession and is currently going through some radical developments in regards to the rise of multi-media, electronic bulletin boards, etc. but also in terms of the establishment of much needed critical writing on design. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> In regards to the latter, hopefully <b>Emigre</b> <b>magazine</b> can be of service in this area.</td></tr> <tr><td></td><td colspan=2><font color=gray>www.du.edu /~marnoldm/classes/2325/links.html</font> (517 words)</td></tr> </table> </td> </tr> </table><body face="Arial"> <br> <table cellpadding=0> <tr> <td> </td> <td> <table > <tr><td> </td><td colspan=2><u>Delusions of Adequacy Reviews - Honey Barbara</u> <i>(Site not responding. Last check: 2007-11-05)</i></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> You see, not only is this an album release for Honey Barbara, it's also the release of <b>Emigré</b> <b>Magazine</b>, a long-running design periodical. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> In fact, the lyrics constitute a good portion of the middle of the <b>magazine</b>, and they're given the fantastic "fully-designed" treatment that you'd expect from the pros. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> This is a groundbreaking way to get music out to the masses, as many who subscribe to the <b>magazine</b> will be treated to this release.</td></tr> <tr><td></td><td colspan=2><font color=gray>www.adequacy.net /reviews/h/honeybarbara.shtml</font> (508 words)</td></tr> </table> </td> </tr> </table><body face="Arial"> <br> <table cellpadding=0> <tr> <td> </td> <td> <table > <tr><td> </td><td colspan=2><u>Not My Type (Articles) Jon Spayde</u> <i>(Site not responding. Last check: 2007-11-05)</i></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> From the layered, blurry, blaring layouts in Wired <b>magazine</b> to the flaky new type faces cropping up on album covers, beer commercials, Web home pages, and everywhere else in hip graphic space, there's something profound going on in the world of graphic design -- and design writers are trying to come to terms with it. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> In the most recent issue of the pathbreaking graphics <b>magazine</b> <b>Emigre</b> (Spring 1995) a cluster of articles more or less defines the graphics revolution as a generational battle. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> In the same issue of <b>EMIGRE</b>, Putch Tu urges designers to get to know the style experts out on the street -- people like the punker-bikers in her favorite San Francisco country-western bar.</td></tr> <tr><td></td><td colspan=2><font color=gray>www.utne.com /web_special/web_specials_archives/articles/204-1.html</font> (409 words)</td></tr> </table> </td> </tr> </table><body face="Arial"> <br> <table cellpadding=0> <tr> <td> </td> <td> <table > <tr><td> </td><td colspan=2><a href="http://www.myfonts.com/Article7012.html">NEWNEWS: MyFonts.com welcomes Emigre!</a></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> Rudy VanderLans was putting together the first edition of <b>Emigre</b> <b>magazine</b>, then an art journal concerned with photography, architecture, and poetry. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> <b>Emigre</b> as a type foundry started when readers requested the fonts the <b>magazine</b> was using. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> Although <b>Emigre’s</b> fonts long ago branched away from low-tech bitmaps, many of their designs still betray that fascination of putting simple geometric shapes to work in new contexts, conceiving new ways to build letters.</td></tr> <tr><td></td><td colspan=2><font color=gray>www.myfonts.com /Article7012.html</font> (384 words)</td></tr> </table> </td> </tr> </table><body face="Arial"> <br> <table cellpadding=0> <tr> <td> </td> <td> <table > <tr><td> </td><td colspan=2><a href="http://dusan.satori.sk/nt/gfxDsgn.ppl.rtf">[No title]</a></td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> He was art director of Adbusters <b>Magazine</b> in Vancouver for 4 years, taught design at the Emily Carr Institute, and is currently working at the New York Times <b>Magazine</b> and designing projects for the United Nations. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> \par <b>Emigre</b> <b>Magazine</b> was founded in 1984, and garnered much critical acclaim when it began to incorporate Licko's digital typeface designs, created with t he first generation of the <a href="/topics/Apple-Macintosh" title="Apple Macintosh" class=fl>Macintosh</a> computer. </td></tr> <tr><td valign=top><img style="margin-top:4px;" src=/images/a.gif></td><td></td><td> This exposure of her typefaces in <b>Emigre</b> <b>magazine</b> led to the manufacture of <b>Emigre</b> Fonts, which <b>Emigre</b> now distributes as software, worldwide.</td></tr> <tr><td></td><td colspan=2><font color=gray>dusan.satori.sk /nt/gfxDsgn.ppl.rtf</font> (14656 words)</td></tr> </table> </td> </tr> </table><script language="JavaScript">  </script> <script language="JavaScript">  </script> <script language="JavaScript" src="http://pagead2.googlesyndication.com/pagead/show_ads.js"> </script> <br> <p style="margin-left:30px;font-size:13px;"><b>Try your search on: <a href="http://www.qwika.com/find/Emigre magazine">Qwika</a> (all wikis)</b></p> <form 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