Emigre Books - Emigre (Exhibition Catalog)

Emigre (Exhibition Catalog)

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Edited and designed by Emigre; published by Drukkerij Rosbeek bv.

In February 1998 Emigre received the Charles Nypels Award, an award which is assigned once every two years to an individual or institution that has made significant innovations in the area of typography. On the occasion of this event an exhibition of the work of Emigre was held at the Jan van Eyck Academy in Maastricht, Holland, and an accompanying catalog was published and printed by Drukkerij Rosbeek bv.

For those who found the theory published in Emigre magazine a bit overwhelming at times, or for those who simply didn't have the time to read it all, this catalog offers a "sound bite" version of all those brainy ponderings that go right to the heart of design discourse of the past 10 years featuring quotes from issues 2-50.

The catalog, which was designed and compiled by Emigre, also features essays by Rick Poynor and Lorraine Wild with samples of Emigre's layouts and typefaces.

72 Pages, 7.75 x 7.75 inches, softcover with flaps, perfect bound.

Excerpt from Emigre (Exhibition Catalog).

Emigre is our continuing education in graphic design. It allows us to showcase and try out our own ideas, as well as provide a platform for others. It is the result of many collaborations with designers, artists, writers, critics and institutions from around the world. It is always our privilege to work with these people, whose contributions not only open our eyes to new issues, but shape Emigre into what it is.

We do not have a preconceived notion of what Emigre should be, other than as a meeting place for ideas. Graphic design stands at its very center, offering us topics to discuss, covering craft, style, practice, education, theory, history, ethics, as well as its impact on our society. We enjoy exploring all these aspects with the intent to learn and explore, not to define or prescribe.

This open-mindedness raises questions regarding our own personal position amidst the often heated debates. Where, for instance, do we stand on the modern versus postmodern argument? It’s simple. To us, there’s not enough room for personal expression in the former and too little interest in craft in the latter. We want the best of both worlds. In short, we wish to create the most universally appealing products; that are of value to many people; that allow for the highest level of creative expression; created with the most precise attention to detail; using the latest technologies and materials; that use no more re- sources than necessary; and that will earn us a comfortable income. But not necessarily in that order.

Zuzana Licko / Rudy VanderLans