Design Literacy: Understanding Graphic Design

underground newspaper developed into the clarion of digital typography
and design. The first Macintosh and its primitive default faces inspired
Emigre’s founders to focus on design. VanderLans called it “a cultural
force,” rather than a passive observer. Emigre Graphics (later Emigre
Fonts), the type business, became a pioneer in typeface design, and Emigre,
the magazine, propagated the faith. Emigre Fonts introduced some of the
earliest and quirkiest dot-matrix and, as the technology improved, high-
resolution digital typefaces.Emigremagazine showcased the leading
proponents and exponents of a new typography that wed youthful rebellion,
evolutionary imperatives, and intellectual curiosity into type and page
designs that challenged the canonical rules. These designers sought to
reach audiences that were either disinterested in, or turned off by
orthodox modern approaches, and they developed visual codes that forced
reevaluation of conventional type design.
As Emigrechallenged the status quo it earned the ire of certain
proponents of classic modernism. Massimo Vignelli referred to the new
typography as “garbage,” and in “The Cult of the Ugly” (Eye,No. 3 , Vol. 9 ) I
(Steven Heller) called it a “blip in the continuum of graphic design history.”
This antipathy was not entirely a knee-jerk reaction to the new, but it did
reveal an inevitable generational schism. On the surface trends and fashions
were being scrutinized, while underneath lurked discomfort with change.
Once released from the safe haven of the laboratory the tension
between young and old ignited. Progress in art and design is certain, but
the baton is rarely passed smoothly. Action and reaction in design are as
natural as the changing tides, and just as necessary. Arguments force
practitioners of all ages to assess and defend. Stasis, the hobgoblin of
creativity, is invariably disrupted. The approaches promoted by Emigre
encouraged a reevaluation of old methods and aesthetics in the light of a
new technological era. They became touchstones for progress but,
paradoxically, also provided templates for mimicry.
It is axiomatic that when a progressive method becomes popular
its edges are smoothed. By the time the avant-garde enters the mass
consciousness many of its successful experiments have already been
diluted, reduced to little more than style. In fine art the acceptance of
radical approaches into the mainstream may mean victory for their
proponents, but ultimately the most progressive forms are neutered to
appeal to a larger audience. The outsider in graphic design is even more
of a contradiction. The commercial nature of design necessitates that
what’s outside be brought inside or become irrelevant. Regardless of how
determined Emigrewas to forge new directions, they were incapable of
preventing appropriation.