“These were magazines that were also pushing the boundaries of what print was at the time – although they weren’t the only people doing it”, she adds. “Both of them were publishing essentially a magazine with these typefaces that were sent to interested parties”, Lippert says. The posters on show in the exhibition are forms of type specimen posters – a sometimes overlooked part of poster design history, Lippert suggests. were trying to square the circle and most people ended up with really crappy looking type design because of that”, she says. “That makes sense to us now, but that was really different from how everyone else was approaching digital typefaces. Type design: Eric Donelan & Bob Aufuldish. “Rather than trying to retrofit a typeface that already existed to work on the computer and print out and look legible – which was difficult in the 80s and 90s – they started with the limitations of digital and they made typefaces that reflected those limitations”, she says. Lippert explains that Emigre’s stood out from others grappling with the challenges of digital type in this era. “Others were trying to square the circle” “They had very different approaches, really novel approaches to how you approach type design and the function of type”. Design by LettError (Erik van Blokland & Just van Rossum). Juxtaposing the two collections for the show, “it just became this dialogue between two digital foundries that were working concurrently”, she says. “We had that archive for maybe five or six years, and when I was thinking about what I could do with Steven Heller, he said, ‘well if you’re going to do Emigre, you should talk about it with Fuse’”, she says. Lippert explains that one of the museum’s first acquisitions was Emigre’s poster archive. While Emigre was established in Berkeley, California in 1984 by Rudy VanderLans and and Zuzana Licko, Fuse was set up a few years later by Neville Brody and Jon Wozencroft in the UK. “It was that time when people were finding weird, weird things to do with their computers”, says Angelina Lippert, chief curator at Poster House in New York, of new exhibition: The revolution Will be Digitized: Typefaces from Emigre & Fuse.Īlmost two decades on from when the first digital font, Digi Grotesk, was invented by Rudolf Hell in 1968, the two digital foundries featured in the exhibition were using the invention of the Macintosh Computer to experiment with type on either side of the Atlantic.
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