View source for Emigre Fonts

{{Short description|American type foundry}}
{{External links|date=January 2025}}
{{Infobox company
| logo = Emigre fonts logo.jpg
| name = Emigre, Inc.
| trade_name = Emigre Fonts
| type = Private
| founded = {{start date and age|1984}}
| industry = Typography
| hq_location_city = [[Berkeley, California]]
| hq_location_country = [[United States]]
| products = See [[#Typefaces|§ Typefaces]]
}}

'''Emigre, Inc.''', [[doing business as]] '''Emigre Fonts''', is a digital [[type foundry]] based in [[Berkeley, California]], that was founded in 1985 by husband-and-wife team [[Rudy VanderLans]] and [[Zuzana Licko]].<ref name="emigre.com">{{cite web|url=http://www.emigre.com/AboutEmigre.php|title=About Emigre|website=www.emigre.com}}</ref>  The type foundry grew out of [[Emigre magazine|''Emigre'' magazine]], a publication founded by VanderLans and two Dutch friends who met in [[San Francisco|San Francisco, CA]] in 1984. Note that unlike the word ''[[émigré]]'', Emigre is officially spelled without accents.

==History==

Emigre Fonts was founded as an independent foundry in 1985 quickly following the release of the first issue of [[Emigre (magazine)|Emigre magazine]] in 1984.

In a 2002 interview with Rhonda Rubinstein for [[Eye (magazine)|Eye Magazine]], Licko recalled the early days of her type design and the important relationship between the magazine and the foundry: <blockquote>“When I started building Macintosh [[bitmap font]]s in 1984, it was a purely experimental endeavour. I didn’t have a client for these fonts, nor did I plan to start a type foundry. It was ''Emigre'' magazine that opened up these options. Rudy had started it (with two Dutch artists) as a showcase for émigré artists. [https://oa.letterformarchive.org/item?workID=lfa_emigre_0003&LFAPics=Yes Issue #3] was the turning point for my typeface experiments and for the magazine, as it was typeset entirely using my first [https://www.emigre.com/TypeSpecimens/Lo-Res Lo-Res fonts]. We had a lot of inquiries about the availability of these typefaces that no one had seen before. It was the start of Emigre Fonts."<ref>{{Cite web|title=Eye Magazine {{!}} Feature {{!}} Reputations: Zuzana Licko|url=http://eyemagazine.com/feature/article/reputations-zuzana-licko|access-date=2021-03-14|website=eyemagazine.com}}</ref></blockquote>Coinciding with the advent of the [[Mac (computer)|Macintosh]] computer, Emigre took advantage of the new medium to design digital typefaces without requiring the equipment or manufacturing infrastructure of a traditional type foundry. Rather than adhering to the aesthetics of metal type optimized for letterpress printing, Licko began designing fonts that embraced the limitations of [[bitmap]] graphics endemic to early PCs and the idiosyncrasies of [[dot matrix printing]].<ref>{{cite web|url=http://www.emigre.com/Licko.php|title=Emigre Fonts: Interview with Zuzana Licko|website=www.emigre.com}}</ref> Robin Kinross analyzed these fonts in a 1992 article for Eye Magazine: "The early productions were rationalised by reference to the requirements of low-memory computing and low-resolution screen display and printer output, and show considerate ingenuity in juggling with a heavily reduced formal repertoire, to make coherent sets of characters."<ref>{{Cite web|title=Eye Magazine {{!}} Feature {{!}} The digital wave|url=http://eyemagazine.com/feature/article/the-digital-wave|access-date=2021-03-18|website=eyemagazine.com}}</ref> Continuing to embrace advances in technology, Licko later produced [[vector graphics|vector-based design]].<ref>Bringhurst, Robert. ''The Elements of Typographic Style'', Hartley & Marks (2004), page 134: "Licko has exploited the harsh economies of digital plotting routines, slicing from control point to control point not with a knife, file or chisel but with digitized straight lines."</ref>  {{paragraph break}} In addition to being one of the first companies to design original fonts made on and for a computer,<ref name="fastcodesign.com">{{cite web|url=http://www.fastcodesign.com/1661918/type-master-an-interview-with-emigres-rudy-vanderlans|title=Type Master: An Interview with Emigre's Rudy VanderLans|date=15 July 2010|publisher=}}</ref> Emigre Fonts was the first to sell licenses and transfer digital fonts online. Created by long-time Emigre collaborator, Tim Starback,<ref name="emigre.com" /> the original system – called "Now Serving" – was built using [[FirstClass]]. Downloads could take up to one hour, requiring four to six modems (phone lines) to handle the demand. In time, a [[56K]] "digital" connection to the [[Internet]] was added, which allowed customers all over the world to connect without long distance rates. Starback recalls those early days: <blockquote>"Eventually we figured out how to get the web server to talk to our database and then authorize a credit card, still done with a dial-up modem. At that point, we had an automated system that could process orders and give the customer access to the font automatically. All the tech stuff was new to everyone, so we were all learning together."<ref name=":2">{{Cite web|title=Type Foundries Today & the Typographica Census|url=https://typographica.org/on-typography/introducing-type-foundries-today-the-typographica-census/|access-date=2021-03-18|website=Typographica|language=en-US}}</ref></blockquote>In the process, Emigre created the "perfect model of an autonomous foundry run by designers. Many designers followed Emigre's lead, joining their library or launching their own foundries."<ref name=":2" />
{{paragraph break}}
Emigre Fonts developed or released some of the most cutting-edge typefaces of the late 1980s and 1990s. Their success as pioneers in the digital type industry is in no small part credited to their eager adoption of new technologies and ability to recognize skill in contemporary designers, as expressed in a 2016 interview of Licko by Sally Kerrigan for [[Adobe Fonts|Adobe Typekit]]:<blockquote>“Each of our font families exudes a certain quality that is either tied to the technology of the time, the level of craftsmanship of the designer, or the prevailing aesthetic preferences of the time. Because the Emigre library developed over the past 30 years, alongside and in reaction to evolving technologies, each typeface is like a snapshot in time.”<ref>{{Cite web|title=The Typekit Blog {{!}} Emigre adds fonts to Typekit, plus an interview with Zuzana Licko|url=https://blog.typekit.com/2016/06/23/emigre-adds-fonts-to-typekit-plus-an-interview-with-zuzana-licko/|access-date=2021-03-14|website=blog.typekit.com}}</ref></blockquote>During this early digital period when design professionals were combining analog and digital production methods, Emigre’s print magazine (known for featuring graphic design criticism and experimental layouts) doubled as an advertising venue for Emigre’s typefaces by showcasing their fonts in use off-screen.<ref>Heller, Steven and Fili, Louise. ''Stylepedia: A Guide to Graphic Design Mannerisms, Quirks, and Conceits'', Chronicle Books (2006), page 121: "What ''Emigre'' initiated was co-opted by the new mainstream -- from fashion magazines to MTV. Stylistically ''Emigre'' was not just the standard bearer, it was the bearer of standards for experimental digital typography."</ref><ref name="fastcodesign.com" /> Though many of Emigre's fonts are considered icons of [[Postmodernism|Postmodern]] design, Emigre didn’t limit themselves. Licko’s popular revivals, [[Mrs Eaves]] (based on [[Baskerville]]) and [https://www.emigre.com/Fonts/Filosofia Filosofia] (based on [[Bodoni]]), were a departure from this style.

In an interview in [https://oa.letterformarchive.org/item?workid=lfa_emigre_0015 Emigre No. 15], in response to a question about the legibility of her experimental bitmap fonts, Licko stated that "You read best what you read most," indicating that fonts such as [[Helvetica]] and [[Times Roman]] are not intrinsically legible but become so through repeated use.<ref>{{Cite web|title=Emigre: Essays - Emigre No. 15|url=https://www.emigre.com/Essays/ZuzanaLicko/Emigre15|access-date=2021-03-21|website=www.emigre.com}}</ref> This was a highly contested opinion within the world of type design that generated heated discussion in the pages of Emigre magazine and elsewhere. This was later referred to as the “Legibility wars”<ref>{{Cite web|date=2016-12-05|title=The Legibility Wars of the '80s and '90s|url=https://www.printmag.com/post/legibility-wars-translation-typography|access-date=2021-03-21|website=PRINT|language=en|archive-date=2021-04-11|archive-url=https://web.archive.org/web/20210411020020/https://www.printmag.com/post/legibility-wars-translation-typography|url-status=dead}}</ref> – a term coined in 2004 by Robin Kinross in his book ''Modern Typography: an Essay in Critical History''.<ref>{{Cite book|last=Kinross|first=Robin|title=Modern typography : an essay in critical history|date=2004|publisher=Hyphen Press|isbn=0-907259-18-9|edition=2nd|location=London|oclc=56603246}}</ref>

Emigre was often criticized for rejecting [[Modernist]] design rules. [[Massimo Vignelli]], a prominent [[designer]] and voice in the [[graphic design]] field, was highly critical of the foundry. Vignelli famously called Emigre a “typographic garbage factory,” insinuating that they were either a threat to the dominant graphic design ideals or insignificant as an “aberration of culture” in a typography panel discussion reported on in a 1991 issue of Print Magazine.<ref>{{Cite web|date=2014-05-28|title=Massimo Vignelli: Creator of Timeless Design and Fearless Critic of "Junk"|url=https://www.printmag.com/post/massimo-vignelli-fearless-critic-of-junk|access-date=2021-03-14|website=PRINT|language=en|archive-date=2021-03-05|archive-url=https://web.archive.org/web/20210305141731/https://www.printmag.com/post/massimo-vignelli-fearless-critic-of-junk|url-status=dead}}</ref><ref name=":0">{{Cite web|title=Emigre: Essays - Critical Conditions:Zuzana Licko, Rudy V...|url=https://www.emigre.com/Essays/Emigre/CriticalConditionsandtheEmigreSpirit|access-date=2021-03-14|website=www.emigre.com}}</ref> This sparked an intense debate in the industry for much of the 1990s. To Vignelli's later collaboration with Emigre to directly promote the release of Licko’s [https://www.emigre.com/TypeSpecimens/Filosofia Filosofia] typeface by designing [http://www.archiviograficaitaliana.com/project/296/itstheirbodoni the poster] to announce the release, Licko responded: “Massimo’s willingness to collaborate on our announcement reflects Emigre’s ability to bridge different approaches.”<ref name=":1">{{Cite web|date=September 1, 1997|first1=Michael|last1=Dooley|title=Zuzana Licko and Rudy VanderLans|url=https://www.aiga.org/medalist-zuzanalickoandrudyvanderlans|access-date=2021-03-14|website=AIGA}}</ref>

In 2011, [[Museum of Modern Art|The Museum of Modern Art]] in New York acquired five Emigre typeface families. The digital fonts are Keedy Sans by Mr. Keedy, Mason Serif by Jonathan Barnbrook, Template Gothic by Barry Deck, Oakland (a.k.a Lo-Res) by Zuzana Licko, and Dead History by P. Scott Makela. They were added to the Architecture and design Collection as part of a selection of 23 digital typefaces documenting milestone designs covering the twentieth century. The acquisition followed in the footsteps of the Museum's first ever typeface acquisition, a case of 36-point Helvetica Bold lead type designed by Max Miedinger and Eduard Hoffman in 1957 for the Haas type foundry in [[Münchenstein, Switzerland]]. The typefaces were on display as part of the exhibit “[[Standard Deviations (exhibition)|Standard Deviations: Types and Families in Contemporary Design.]]”<ref>{{Cite web|title=Standard Deviations: Types and Families in Contemporary Design {{!}} MoMA|url=https://www.moma.org/calendar/exhibitions/1138|access-date=2021-03-21|website=The Museum of Modern Art|language=en}}</ref>

Emigre remained faithful to their belief that legibility is a byproduct of exposure or practice. “People read best what they read most,” was a manifesto that encouraged VanderLans and Licko to continue exploring new designs.<ref name=":0" /> The idea that new typefaces or layouts could become not just more legible but better for their intended uses and technologies than old ones gave birth to a full library of new designs for a new digital era. Refusing to waver in the wake of criticism, Licko and VanderLans forged their own path, revolutionizing design aesthetics and becoming one of the most influential digital type foundries.<ref name=":1" />

==Books==

* ''Emigre: Graphic Design into the Digital Realm'', 1993  – Book celebrating Emigre’s first 10 years
* ''Emigre (Exhibition Catalog)'', 1998  – Catalog to commemorate an exhibition about the work of Emigre at the Jan van Eyck Academy in the Netherlands
* ''Emigre Fonts Type Specimens Volume I'', 2006  – Limited edition, case bound book containing 12 original Emigre Fonts type specimens
* ''Emigre No.70: The Look Back Issue, 2009''  – A 512-page selection of reprints that traces Emigre's development from its early bitmap design days in the mid 1980s through to the experimental layouts that defined the so-called
* ''Departures: Five Milestone Font Families by Emigre, 2011'' – This book celebrates the acquisition of five Emigre typeface families by The Museum of Modern Art in New York
* ''Emigre Fonts: Type Specimens 1986-2016, 2016''  – 752-page compilation featuring reprints of Emigre's most remarkable specimen designs covering a period of 30 years

==Typefaces==

Most typefaces in the Emigre Fonts library were designed and produced by Zuzana Licko. Over the years Emigre also licensed fonts from an international group of designers. All Emigre fonts are for retail and sold by licensing agreement to users worldwide.<ref name="emigre.com" />

In addition to licensing fonts directly to users through the Emigre Fonts website, in 2016 Emigre licensed the entire Emigre Fonts library to [[Adobe Fonts]]<ref>{{Cite web|title=Emigre: News|url=https://www.emigre.com/News#CreativeCloud|access-date=2021-03-21|website=www.emigre.com}}</ref> to make its fonts available through Adobe’s [[Adobe Creative Cloud|Creative Cloud]] service. The annual subscription to Creative Cloud includes single user desktop licenses and Web font hosting services for all Emigre Fonts.<ref>{{Cite web|title=Emigre {{!}} Adobe Fonts|url=https://fonts.adobe.com/foundries/emigre|access-date=2021-03-21|website=fonts.adobe.com}}</ref>

The company's type library features fonts by Mark Andresen, Bob Aufuldish, [[Jonathan Barnbrook]], Rodrigo Cavazos, Barry Deck, Eric Donelan, [[John Downer (signpainter)|John Downer]], Elliott Peter Earls, [[Edward Fella]], Sibylle Hagmann, Frank Heine, John Hersey, [[Jeffery Keedy]], [[Zuzana Licko]], [[P. Scott Makela]], Conor Mangat, Nancy Mazzei, Brian Kelly, Miles Newlyn, Claudio Piccinini, [[Just van Rossum]], [[Christian Schwartz]] and [[Rudy VanderLans]].<ref>{{Cite web|url=http://new.myfonts.com/foundry/Emigre/|title = Emigre « MyFonts}}</ref> See full [https://www.emigre.com/ font library] and [https://www.emigre.com/TypeSpecimens specimens type specimens] available on Emigre's website.
{{colbegin}}
* [https://www.emigre.com/Fonts/Alda Alda] by Berton Hasebe (2008) 
*[https://www.emigre.com/Fonts/Arbitrary Arbitrary] by Barry Deck (1990) 
*[https://www.emigre.com/Fonts/Backspacer Backspacer] by Nancy Mazzei and Brian Kelly (1993) 
*[https://www.emigre.com/Fonts/Base-9-and-12 Base 9 & 12] by Zuzana Licko (1995) 
*[https://www.emigre.com/Fonts/Base-900 Base 900] by Zuzana Licko (2010) 
*[https://www.emigre.com/Fonts/Base-Monospace Base Monospace] by Zuzana Licko (1997) 
*[https://www.emigre.com/Fonts/Big-Cheese Big Cheese] by Bob Aufuldish and Eric Donelan (1992) 
*[https://www.emigre.com/Fonts/Blockhead-Alphabet Blockhead Alphabet] by John Hersey (1995) 
*[https://www.emigre.com/Fonts/Blockhead-Illustrations Blockhead Illustrations] by John Hersey (1995) 
*[https://www.emigre.com/Fonts/Brothers Brothers] by John Downer (1999)
*[https://www.emigre.com/Fonts/Cardea Cardea] by David Cabianca (2004) 
*[[Cholla Slab]] by Sibyl Hagmann (1999)
* [https://www.emigre.com/Fonts/Chowdown Chowdown] by Tucker Nichols (2019) 
* [https://www.emigre.com/Fonts/Citizen Citizen] by Zuzana Licko (1986) 
* [https://www.emigre.com/Fonts/Council Council] by John Downer (1999) 
* [https://www.emigre.com/Fonts/Crackly Crackly] by Zuzana Licko (2019) [https://www.emigre.com/Fonts/Dalliance Dalliance] by Frank Heine (2002)
* [[Dead History]] by P. Scott Makela (1990)
* [https://www.emigre.com/Fonts/Democratica Democratica] by Miles Newlyn (1991)
* [https://www.emigre.com/Fonts/Dogma Dogma] by Zuzana Licko (1994) 
* [https://www.emigre.com/Fonts/Eidetic-Neo Eidetic] Neo by Rodrigo Cavazos (2000) 
* [https://www.emigre.com/Fonts/Elektrix Elektrix] by Zuzana Licko (1989) 
* [[Exocet (typeface)|Exocet]] by Jonathan Barnbrook (1991)
* [https://www.emigre.com/Fonts/Fairplex Fairplex] by Zuzana Licko (2002) 
* [https://www.emigre.com/Fonts/FellaParts FellaParts] by Edward Fella (1993) 
* [https://www.emigre.com/Fonts/Filosofia Filosofia] (Bodoni revival) by Zuzana Licko (1996)
*[https://www.emigre.com/Fonts/Filosofia-Parma Filosofia Parma] by Zuzana Licko (2019) 
*[https://www.emigre.com/Fonts/Hypnopaedia Hypnopaedia] by Zuzana Licko (1997) 
* [https://www.emigre.com/Fonts/Journal Journal] by Zuzana Licko (1990)
*[https://www.emigre.com/Fonts/Keedy Keedy] by Jeffery Keedy (1989) 
* [https://www.emigre.com/Fonts/Lo-Res Lo-Res] by Zuzana Licko (1985 and 2001) 
* [https://www.emigre.com/Fonts/Los-Feliz Los Feliz] by Christian Schwartz (2001) 
* [https://www.emigre.com/Fonts/Lunatix Lunatix] by Zuzana Licko (1988) 
* [https://www.emigre.com/Fonts/Malaga Malaga] by Xavier Dupré (2007) 
* [https://www.emigre.com/Fonts/Mason Mason] by Jonathan Barnbrook (1992) 
* [[Matrix (typeface)]] by Zuzana Licko (1986)
*[https://www.emigre.com/Fonts/Missionary Missionary] by Miles Newlyn (1991)
* [https://www.emigre.com/Fonts/Modula Modula] by Zuzana Licko (1985)
*[https://www.emigre.com/Fonts/Modula-Round-and-Ribbed Modula Round & Ribbed] by Zuzana Licko (1995) 
*[https://www.emigre.com/Fonts/Motion Motion] by Frank Heine (1992)
*[https://www.emigre.com/Fonts/Mr-Eaves-Sans-and-Modern Mr Eaves Sans & Modern] by Zuzana Licko (2009) 
*[https://www.emigre.com/Fonts/Mr-Eaves-XL-Sans-and-Modern Mr Eaves XL Sans, Modern & Narrow] by Zuzana Licko (2009) 
* [[Mrs Eaves]] (Baskerville revival) by Zuzana Licko (1996)
* [https://www.emigre.com/Fonts/Mrs-Eaves-XL-Serif-and-Narrow Mrs Eaves XL Serif & Narrow] by Zuzana Licko (2009) 
* [https://www.emigre.com/Fonts/Narly Narly] by Zuzana Licko (1993) 
* [https://www.emigre.com/Fonts/NotCaslon NotCaslon] by Mark Andresen (1991) 
* [https://www.emigre.com/Fonts/Oblong Oblong] by Rudy VanderLans and Zuzana Licko (1988) 
* [https://www.emigre.com/Fonts/Ottomat Ottomat] by Claudio Piccinini (1995) 
* [https://www.emigre.com/Fonts/OutWest OutWest] by Edward Fella (1993) 
* [https://www.emigre.com/Fonts/Platelet Platelet] by Conor Mangat (1993) 
* [https://www.emigre.com/Fonts/Poppi Poppi] by Martin Friedl (2003) 
* [https://www.emigre.com/Fonts/Priori Priori] by Jonathan Barnbrook (2003)
* [https://www.emigre.com/Fonts/Priori-Acute Priori Acute] by Jonathan Barnbrook (2009) 
* [https://www.emigre.com/Fonts/Program Program] by Zuzana Licko (2013) 
* [https://www.emigre.com/Fonts/Puzzler Puzzler] by Zuzana Licko (2005) 
* [https://www.emigre.com/Fonts/Remedy Remedy] by Frank Heine (1991) 
* [https://www.emigre.com/Fonts/Sabbath-Black Sabbath Black] by Miles Newlyn (1992) 
* [https://www.emigre.com/Fonts/Senator Senator] by Zuzana Licko (1988) 
* [https://www.emigre.com/Fonts/Soda-Script Soda Script] by Zuzana Licko (1995) 
* [https://www.emigre.com/Fonts/Solex Solex] by Zuzana Licko (2000) 
* [https://www.emigre.com/Fonts/Suburban Suburban] by Rudy VanderLans (1993) 
* [https://www.emigre.com/Fonts/Tangly Tangly] by Zuzana Licko (2018) 
* [https://www.emigre.com/Fonts/Tarzana Tarzana] by Zuzana Licko (1998) 
* [https://www.emigre.com/Fonts/Template-Gothic Template Gothic] by Barry Deck (1990)
* [https://www.emigre.com/Fonts/The-Apollo-Program-Font-Set The Apollo Program Font Set] by Elliott Peter Earls (1993-98*) 
* [https://www.emigre.com/Fonts/Thingbat Thingbat] by John Hersey (1993) 
* [https://www.emigre.com/Fonts/Totally-Gothic-and-Totally-Glyphic Totally Gothic & Totally Glyphic] by Zuzana Licko (1990) 
* [https://www.emigre.com/Fonts/Tribute Tribute] by Frank Heine (2003) 
* [https://www.emigre.com/Fonts/Triplex Triplex] by Zuzana Licko (1989) 
* [https://www.emigre.com/Fonts/Triplex-Italic Triplex Italic] by John Downer (1985) 
* [https://www.emigre.com/Fonts/Variex Variex] by Rudy VanderLans and Zuzana Licko (1988) 
* [https://www.emigre.com/Fonts/Vendetta Vendetta] by John Downer (1999) 
* [https://www.emigre.com/Fonts/Vista-Sans Vista Sans] by Xavier Dupré (2004)
* [https://www.emigre.com/Fonts/Vista-Sans-Narrow Vista Sans Narrow] by Xavier Dupré (2008) 
* [https://www.emigre.com/Fonts/Vista-Slab Vista Slab] by Xavier Dupré (2008) 
* [https://www.emigre.com/Fonts/Whirligig Whirligig] by Zuzana Licko (1994) 
* [https://www.emigre.com/Fonts/ZeitGuys ZeitGuys] by Bob Aufuldish and Eric Donelan (1994)
{{colend}}

==Awards==

* [https://vintageapple.org/macuser/pdf/MacUser_8701_January_1987.pdf MacUser Desktop Publisher of the Year Award], 1986
* [[Chrysler Award for Design Innovation|Chrysler Award for Innovation in Design]], [https://digital.archives.caltech.edu/islandora/object/maccready:27195#page/6/mode/1up 1994] 
* Publish Magazine Impact Awards, 1996 
* [[List of AIGA medalists|American Institute of Graphic Arts Gold Medal Award]], 1997 
* [http://www.eyemagazine.com/review/article/sharp-thinking-takes-the-prize-extract Charles Nypels Award for Excellence in Typography], 1998 
* Honorary members of the [https://sta-chicago.org/ Society of Typographic Arts], Chicago, 2010 
* [https://www.typesociety.org/typography/2013/ Society of Typographic Aficionados Annual Typography Award], 2013 
* [https://www.tdc.org/profiles/emigre/ 29th New York Type Directors Club Medal], 2016<ref name="emigre.com" />

==Museum exhibits==
'''Solo exhibitions'''
* "Emigre Magazine: Selections from the Permanent Collection," Museum of Modern Art, San Francisco, 1997 
* "Charles Nypels Prize," [[Jan van Eyck Academy]], Maastricht, Netherlands, 1998
* "[https://collections.lacma.org/node/2071512 Emigre in Istanbul]," Contemporary Art Center, Istanbul, Turkey, 1999 
* "Emigre in Norfolk," [[Old Dominion University]] Gallery, Norfolk, Virginia, 2005 
* "[https://gallery16.com/exhibitions Emigre at Gallery 16]," [[Gallery 16]], San Francisco, 2010 
* "[https://www.reading.ac.uk/15/about/newsandevents/Events/Event723923.aspx Emigre magazine: design, discourse and authorship]," [[University of Reading]], UK, 2017

'''General exhibitions'''
*"Pacific Wave: California Graphic Design," [[Museo Fortuny]], Venice, Italy, 1987
*"Graphic Design in America,<ref>{{Cite book|last1=Friedman|first1=Mildred S.|url=https://archive.org/details/graphicdesignina00frie|title=Graphic design in America : a visual language history|last2=Giovannini|first2=Joseph|last3=Heller|first3=Steven|date=1989|publisher=Minneapolis : Walker Art Center; New York : Abrams|others=Internet Archive|isbn=978-0-8109-1036-2|pages=237, 257}}</ref>" [[Walker Art Center]], Minneapolis, 1989
*"Mixing Messages: Graphic Design in Contemporary Culture,<ref>{{Cite web|title=Mixing Messages – ellenlupton|url=https://ellenlupton.com/Mixing-Messages|access-date=2021-03-16|website=ellenlupton.com}}</ref>" [[Cooper Hewitt, Smithsonian Design Museum]], 1996
*"[https://faculty.design.umn.edu/mccarthy/designer-authored-histories.pdf Designer as Author, Voices and Visions]," [[Northern Kentucky University]], 1996
*"Design Culture Now: National Design Triennial," [[Cooper Hewitt, Smithsonian Design Museum]], 2000
*"East Coast/West Coast" at [https://echirolles-centredugraphisme.com/ Centre du Graphisme] {{Webarchive|url=https://web.archive.org/web/20210309110214/https://echirolles-centredugraphisme.com/ |date=2021-03-09 }}, [[Échirolles]], France, 2002
*"[https://www.paris-art.com/d-day-le-design-aujourdhui/ D-Day:le design aujourd'hui]," at [[Centre Pompidou]], [[Paris]], 2005
*"[https://www.moma.org/calendar/exhibitions/15 Digitally Mastered]," [[Museum of Modern Art|MoMA]], New York, 2007
*"[http://www.experimentadesign.pt/2009/en/00-04-01.html Quick, Quick, Slow]," Experimentadesign Lisboa 2009, [[Berardo Collection Museum]], Lisbon, Portugal, 2009 (featured Emigre magazine issues10–24)
*"Typographic Tables," Museum of Modern and Contemporary Art, Bolzano, Italy, 2011
*"[https://camraleigh.org/exhibitions/2011deepsurface/ Deep Surface: Contemporary Ornament and Pattern]," Contemporary Art Museum, Raleigh, 2011 
*"[https://walkerart.org/calendar/2011/graphic-design-now-in-production Graphic Design: Now in Production]," [[Walker Art Center]], Minneapolis, 2011 (featured "[https://www.emigre.com/BooksCds/Emigre70 Emigre No. 70: The Look Back Issue]" and [https://www.emigre.com/Fonts/Base-900 Base 900])
*''[[Postmodernism: Style and Subversion 1970–1990]]'', [[Victoria and Albert Museum|Victoria & Albert Museum]], London, 2011
*"[[Standard Deviations (exhibition)|Standard Deviations]]," MoMA, New York, 2011 (featured 23 digital typefaces for their permanent collection, including five Emigre font families: [[Jeffery Keedy]]'s [https://www.emigre.com/Fonts/Keedy Keedy Sans], [[Jonathan Barnbrook]]'s [https://www.emigre.com/Fonts/Mason Mason Serif], [https://barrydeck.com/ Barry Deck]'s [[Template Gothic]], [[Zuzana Licko]]'s Oakland—renamed [https://www.emigre.com/Fonts/Lo-Res Lo-Res] in 2001—and [[P. Scott Makela]]'s [[Dead History]])
*"[http://workfromcalifornia.com/ Work from California]," 25th International Biennial of Graphic Design, Brno, Czech Republic, 2012
*"Revolution/Evolution," [[College for Creative Studies]], Detroit, 2014 
*"[https://www.sfmoma.org/exhibition/typeface-interface/ Typeface to Interface]," [[San Francisco Museum of Modern Art|Museum of Modern Art, San Francisco]], 2016 
*"[https://www.lacma.org/art/exhibition/west-modernism-california-graphic-design California Graphic Design, 1975–95]," [[Los Angeles County Museum of Art]], Los Angeles, 2018
*"[https://www.lacma.org/art/exhibition/between-lines-typography-lacmas-collection Between the Lines: Typography in LACMA’s Collection]," Los Angeles County Museum of Art, Los Angeles, 2019
'''Permanent collections'''
*Denver Art Museum holds a complete set of Emigre magazine in their permanent collection.
*Design Museum in London holds a complete set of Emigre magazine in their permanent collection.
*[https://letterformarchive.org/ Letterform Archive] holds the [https://letterformarchive.org/news/view/letterform-archive-receives-major-donation-of-archival-material-from-emigre Emigre Archives] in their permanent collection.
*Museum für Gestaltung ([[Museum of Design, Zürich]]) holds Emigre magazine issues in their permanent collection.
*Museum of Modern Art in New York holds a complete set of Emigre magazine, and five digital fonts from the Emigre Fonts library in their permanent collection.
*Museum of Modern Art in San Francisco holds a complete set of Emigre magazine in their permanent collection.

==References==

<references />

==Additional online resources==

* Eye (Website), “[http://www.eyemagazine.com/feature/article/cult-of-the-ugly Cult of the Ugly],” by Steven Heller, 1993
* [https://www.gunnarswanson.com/writing/UglyLetter.pdf Letter to Emigre Magazine], (PDF) by Gunnar Swanson, 1994
* 2x4 (Website), “[https://2x4.org/ideas/1996/designer-as-author/ Designer as Author],” by Michael Rock, 1996
*SpeakUp (Website), [https://www.underconsideration.com/speakup/archives/001299.html Interview with Rudy VanderLans] by Armin Vit, 2002.
* Typotheque (Website), “[https://www.typotheque.com/articles/context_in_critique_review_of_emigre_no64_rant Context in Critique],” review of Emigre #64, Rant, by Dmitri Siegel, 2004
* Typotheque (Website), “[https://www.typotheque.com/articles/rudy_vanderlans_editor_of_emigre Rudy VanderLans, editor of Emigre],” interview by David Casacuberta and Rosa Llop, 2004
* AIGA (Website), “[https://www.aiga.org/an-interview-with-rudy-vanderlans An Interview with Rudy VanderLans: Still Subversive After All These Years],” by Steven Heller, 2004
* [https://designobserver.com/feature/emigre-an-ending/3847 Design Observer] (Website), “Emigre: An Ending,” by Rick Poynor, 2005
* TapeOp (Website), “[https://tapeop.com/reviews/gear/63/emigre-no-69-the-end/ Rudy VanderLans: Emigre No. 69: The End],” review by John Baccigaluppi, 2008
* Eye (Website), “[http://eyemagazine.com/review/article/the-farewell-tour-syndrome The farewell tour syndrome],” book review by Emily King, 2009
* Communication Arts (Website), “[https://www.commarts.com/book-reviews/emigre-no-70-the-look-back-issue Emigre No.70: The Look Back Issue],” book review by Angelynn Grant, 2009
* Dwell (Website), "[https://www.dwell.com/article/emigre-no.-70-53d4e4db Emigre No.70],” book review by Miyoko Ohtake, 2009
* Print (Website), “[https://www.printmag.com/post/emigres-lucky-number Emigre’s Lucky Number],” by Steven Heller, 2009
* Print magazine (Website), “[https://www.printmag.com/post/design-couples-rudy-vanderlans-and-zuzana-licko Design Couples: Rudy VanderLans and Zuzana Licko]," interview by Caitlin Dover, 2010
* Fast Company (Website), “[https://www.fastcompany.com/1661918/type-master-an-interview-with-emigres-rudy-vanderlans?cid=search Type Master: An Interview with Emigre’s Rudy VanderLans]," by Alissa Walker, 2010. 
* The Atlantic (Website), "[https://www.theatlantic.com/entertainment/archive/2012/11/can-the-rule-breaking-font-designers-of-three-decades-ago-still-break-rules/264958/ Can the Rule-Breaking Font Designers of Three Decades Ago Still Break Rules?],” by Steven Heller, 2012
*Plazm Magazine (Website), "[https://magazine.plazm.com/in-conversation-with-emigre-2c15869886fb In Conversation with Emigre]" by Sara Dougher and Joshua Berger, 2013
* Communication Arts (Website), “[https://www.commarts.com/book-reviews/emigre-fonts Emigre Fonts],” book review by Angelynn Grant, 2016
*Print (Website), “[https://www.printmag.com/post/legibility-wars-translation-typography The Legibility Wars of the ‘80s and ‘90s] {{Webarchive|url=https://web.archive.org/web/20210411020020/https://www.printmag.com/post/legibility-wars-translation-typography |date=2021-04-11 }},” 2016
* AIGA, Eye on Design (Website), “[http://eyeondesign.aiga.org/emigre-type-foundry-pretty-much-designed-the-90s/ Emigre Type Foundry Pretty Much Designed the ‘90s—Here’s What it Looked Like],” book review by Angela Riechers, 2016
* MyFonts (Website), [https://www.myfonts.com/newsletters/cc/201606.html interview with Zuzana Licko] by Jan Middendorp, 2016. 
* Fontstand (Website), “[https://fontstand.com/articles/emigre Emigre: Time and Time Again],” by Sébastien Morlighem, 2016
* Klim Type Foundry (Website), “[https://klim.co.nz/blog/tilting-at-windmills/ Tilting at windmills],” Rudy vanderLans replies to “Welcome to the infill font foundry,” 2016
* University of Reading (Website), “[http://blogs.reading.ac.uk/typography-at-reading/2017/06/07/emigre-magazine-design-discourse-and-authorship/ Emigre magazine: design, discourse and authorship] {{Webarchive|url=https://web.archive.org/web/20210411020017/http://blogs.reading.ac.uk/typography-at-reading/2017/06/07/emigre-magazine-design-discourse-and-authorship/ |date=2021-04-11 }},” an exhibition curated by Francisca Monteiro and Rick Poynor, 2017
* Typography & Graphic Communication (Website), "[http://typography.network/2017/06/07/emigre-magazine-design-discourse-and-authorship/ Emigre magazine: design, discourse and authorship],” exhibition, 2017
* Huffington Post (Website), “[https://www.huffpost.com/entry/baskerville-font-history_n_58e7fe09e4b058f0a02f4e30 One of Today’s Most Popular Fonts Has a Wild Centuries-Long History],” by Maddie Crum, 2017
* ReadyMag Stories (Website), “[https://stories.readymag.com/emigre/timeline/ Emigre] {{Webarchive|url=https://web.archive.org/web/20210411020018/https://stories.readymag.com/emigre/timeline/ |date=2021-04-11 }},” by Zhdan Philippov and Vitaly Volk, 2020
* “[https://bloom.csu.edu.au/2020/wp-content/uploads/2020/10/BOYLE-Chaney-for-CCI103-BLOOM.pdf Typography and Legibility: An Analysis of Tschichold, Licko, and VanderLans],” (PDF) by Chaney Boyle, 2020
* MoMA (Website), [https://www.moma.org/collection/works/101653 Emigre Magazine, issues 1-69], permanent collection
* MoMA (Website), [https://www.moma.org/collection/works/139320 Oakland typeface], permanent collection

==Additional print resources==

* Bouvet, Michel, ''East Coast West Coast: Graphistes aux États-unis'', Paris, France, Les Éditions Textuel, 2002. Essay on history of Emigre.
* Dawson, Peter, ''The Field Guide to Typography: Typefaces in the Urban Landscape'', New York, NY, Prestel, 2013. Interview with Rudy VanderLans & Zuzana Licko.
* Eskilson, Stephen J., ''Graphic Design: A New History'', London, UK, Laurence King Publishing, 2007. Essay on Emigre in chapter on “Postmodern Typography.”
* Heller, Stephen, ed., ''Design Literacy: Understanding Graphic Design''. New York, NY, Allworth Press with School of Visual Arts, 2014. Essay on Emigre in chapter on "Mass Media.”
* Lupton, Ellen, ''Mixing Messages: Graphic Design in Contemporary Culture'', New York, NY, Princeton Architectural Press, 1996. Short profile of Emigre and Zuzana Licko’s typefaces. Book published in conjunction with exhibit at Cooper-Hewitt National Design Museum.
* McCarthy, Steven, ''The Designer as Author, Producer, Activist, Entrepreneur, Curator & Collaborator: New Models for Communicating'', Amsterdam, Netherlands, BIS, 2013. Emigre referenced throughout, and short profile of Emigre in chapter on “Typographic Design Authorship.”
* Meggs, Philip B., ed., ''A History of Graphic Design'', New York, NY, John Wiley & Sons, 1998. Profile of Emigre in chapter on “Pioneers of Digital Graphic Design.”
* Poynor, Rick, ''Design Without Boundaries: Visual Communication in Transition'', London, UK, Booth-Clibborn Editions, 1998. Emigre referenced in essay “Cult of the Ugly,” and one essay, “Into the Digital Realm,” on Emigre.
* Poynor, Rick, ''No More Rules: Graphic Design and Postmodernism'', New Haven, CT, Yale University Press, 2003. Emigre referenced throughout.
* Shaughnessy, Adrian, ''How to be a Graphic Designer, Without Losing Your Soul'', London, UK, Laurence King Publishing, 2005. Interview with Rudy VanderLans.

==External links==
* [http://www.emigre.com/ Emigre official site]
*[https://oa.letterformarchive.org/search?dims=Collection&vals0=Emigre%20Collection&friendly0=Emigre%20Collection Emigre Archives] at Letterform Archive (all issues are available in full online)
*[http://goldstein.design.umn.edu/collection/emigre/contributors/About.html Emigre Magazine Index] created by [http://jessicabarness.com/ Jessica Barness] for The [[Goldstein Museum of Design]]
*[https://fonts.adobe.com/foundries/emigre Emigre Fonts at Adobe Fonts]

[[Category:Type foundries]]
[[Category:Software companies based in the San Francisco Bay Area]]
[[Category:Companies based in Berkeley, California]]
[[Category:Design companies established in 1984]]
[[Category:Software companies established in 1984]]
[[Category:1984 establishments in California]]
[[Category:Software companies of the United States]]
[[Category:Digital typography]]
[[Category:Independent type foundries]]