Rudy VanderLans

"Fueled by Emigre's successful digital type foundry, the magazine became one of the most popular and controversial graphic design magazines of its time. 69 issues were published in a variety of formats, featuring in-depth interviews with fellow design trailblazers and critical essays by an emerging group of young design writers. This book, designed and edited by Emigre co-founder and designer Rudy VanderLans, is a selection of reprints, using original digital files, tracing Emigre s development from its early bitmap design days in the late 1980s through to the experimental layouts that defined the so called Legibility Wars of the late 1990s, to the critical design writing of the early 2000s." - product description.

Emigre Number Seventy

David Barringer

"Everything must come to an end, and after publishing Emigre magazine for over 21 years we're both relieved and just a little bit sad to announce that #69 will be our final issue. Inside is a look back on some great years in graphic design, while our contributors and colleagues bid us farewell. It was quite an experience. Thank you for reading Emigre."--Back cover.

Emigre: The End - #69

For almost twenty years, and over sixty issues, Emigre has been a sourcebook of ideas, fonts, images, work, products, and even music for an entire generation of designers. 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. Anyone interested in contemporary design will want to put a copy of Emigre in their pocket.

If We're Standing on the Shoulders of Giants, what are We Reaching For?

Brian Schorn

Joshua Tree is the third and final book of photos in a trilogy that focuses on the Southern California landscape. VanderLans selects his subjects by following the trails of his heroes from the world of music who have immortalized So Cal through their songs and lives. This book is a tribute to Gram Parsons, one-time member of The Byrds and co-founder of the infamous Flying Burrito Brothers. The photography focuses on Joshua Tree National Park and the surrounding environment of the Mojave desert, an area Parsons often frequented and eventually the place he died. Like its predecessors, Joshua Tree includes a CD featuring musical compositions meant to function as musical backdrops to the desert images in this book. The tracks include new compositions by Itchy Pet, Damon & Naomi, Elliott Peter Earls, Scenic, The Grassy Knoll and Honey Barbara.

Joshua Tree

Anywhere, California is another close look by Rudy VanderLans into the cultural landscape of his favorite subject, the Golden State. Whether it's the garage where Apple started in Los Altos, or the former location where the Manson Family lived in Chatsworth, or an anonymous abandoned storefront in Calexico, VanderLans finds beauty in the unlikeliest of locations. Yet he rarely divulges the why or what of his photographs. Instead he stresses that things aren't always what they appear to be, leaving much to the imagination of the reader. Stylistically diverse, and meticulously composed, his pictures are as sundry in nature as California itself. Presented in unencumbered page layouts, with well-considered sequencing, this publication is another testament to VanderLans' dual mastery of design and photography. It continues his preference for the book format as his primary vehicle to show his photography, making this limited first edition another instant collectible.

Anywhere, California

For almost twenty years, and over sixty issues, Emigre has been a sourcebook of ideas, fonts, images, work, products, and even music for an entire generation of designers. But this visual stimulation may have come at a price: are today's young designers writing passionately enough about what they do? Acting as agent provocateur in Rant, Emigre invites designers, teachers, and critics including Jeffery Keedy, Rick Valicenti, Shawn Wolfe, Kenneth FitzGerald, Denise Gonzales Crisp, Andrew Blauvelt, and Elliott Earls to challenge today's young designers to develop a critical attitude toward their own work and the design scene in general. Rant also signals a transition in the format of Emigre, away from its previous incarnation as a magazine/font catalog toward a series of "pocketbooks" focusing on critical writing about the state of graphic design.

Rant

Kenneth FitzGerald proposes that the objective of design, to create a class of expert professional practitioners, can - and should - only lead to its demise as a specialist profession. Lorraine Wild and Sam Potts respond, separately, to the publication of Rick Poynor's recent book "No More Rules: Graphic Design and Postmodernism." Eric Heiman urges designers to "think wrong" and refocus their creative energies to solving non-commercial, more socially motivated problems. Jeffery Keedy gives us a list of some of the most popular but dumb ideas in design. Ben Hagon warns that without a significant change in the method by which we create work, Joe Client will, in time, do our graphic design work for us. Kali Nikitas and Louise Sandhaus respond to the criticism levelled at their conversation "Visitations" which was published in Emigre #64. And Emigre interviews Armin Vit, the founder of Speak Up, design's most successful blog, and David Cabianca who discusses the value of design theory and criticism. Plus, the Readers Respond, featuring letters from around the world in response to past issues of Emigre magazine.

Emigre: Nudging Graphic Design - #66

Journal issue consisting largely of an interview with Ivo Watts-Russell, primarily concerning the record company 4AD which began in 1979.

This Mortal Coil ; 4AD

Ivo Watts-Russell

Zuzana Licko

In 1984 a radically new graphic design magazine set out to explore the as-yet-untapped and uncharted possibilities of Macintosh-generated graphic design. Boldly new and different, Emigre broke rules, opened eyes and earned its creators, Rudy VanderLans and Zuzana Licko, cult status in the world of graphic design. After a decade of publishing, the jury is still out on Emigre. But now, thanks to this comprehensive 10-year retrospective, you can reach your own conclusions. Are Emigre’s Mac-generated graphics important, influential and controversial…or just plain ugly? You decide. "The only people who have trouble reading Emigre are graphic designers who have been trained to make type clear. The rest of the world doesn’t live in that purist atmosphere." —Chuck Byrne, Print Magazine, September 1992 Here gathered together for the first time, you’ll find: Every Emigre cover ever issued A full catalog of over 80 Emigre typefaces Emigre’s most striking editorial layouts Plus stimulating and provocative commentary from both Rudy VanderLans and Zuzana Licko How has a magazine that prints just 7,000 copies managed to outrage so many graphic designers while inspiring so many others? The answer is in your hands.

Graphic Design into the Digital Realm

Emigre

Kenneth FitzGerald

Volume—a word that refers to sound, collections, and the measurement of space—is a crucial characteristic of both graphic design and popular music. While expressing different aspects of these two pervasive cultural mediums, the term also introduces a discussion on their many links. Volume: Writings on Graphic Design, Music, Art, and Culture is a collection of both new and classic writings by frequent Emigre contributor and educator Kenneth FitzGerald that survey the discipline of graphic design in context with the parallel creative fields of contemporary music and art. The topics of the writings are diverse: the roles of class in design, design education, Lester Bangs and Creem magazine, pornography, album cover art, independent record labels, anonymity and imaginary creative identities, and design as cultural chaos-maker.

Rudy VanderLans

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