Emigre the Berkeley-based type foundry, is probably the single entity most directly responsible for my foray into graphic design. About 16 years ago, I stumbled onto its now-defunct magazine, and my seemingly disparate interests clicked together in an instant. Since then, I have been regularly following the studio’s work.
From typefaces to ceramics to wrapping paper, studio founders Zuzanna Licko and Rudy VanderLans are always up to something interesting. Emigre’s font releases are promoted with inventive and beautifully designed type specimens. The ones pictured here are actually entitled Historia and feature unusual combinations of Emigre typefaces, commemorating moments in California’s early history.
These are odd juxtapositions, none of them historically correct per se but, in the designers’ own words, “we believe that ultimately any font can be successfully combined with any other font. It’s not so much a matter of which font combinations to pick, it’s a matter of how you use the fonts in combination.”
Can you imagine how beautiful US currency would be if it were designed by Emigre? That’s what I keep thinking as I look at these specimens.