Representatives of Type:

Émigré Fonts, Zuzana Licko

Emigre was established in 1986 in Berkley California. The magazine gained prominence and then the Émigré font was established. Zuzana Licko has a degree in graphic communications from the university of California , with no formal training in typeface design. She broke ground in the creation of uniquely designed coarse bitmap fonts parallel to the introduction of the macintosh in 1984 and the publication of Emigre. Licko developed remarkable innovative designs like Emigre, Emperor, Oakland, and Universal. Émigré has developed from a vast amount of designers who have contributed to the evolution of typeface experimentation that define the foundry. Some of the early typefaces came from Jeffery Keedy, P. Scott Makela, and Berry Deck; none of them typeface designers. Émigré continues to encourage illustrators like Mark Andresen letterers like Ed Fella. Through the lifespan of Émigré, the typefaces from its foundry were continually on display and played as significant of a role as the content.

House Industries

Andy Cruz and Rich Boat created a design firm, Bran Design Co., earlier that year, also established House Industries in 1993. They decided that they needed a product to sell and not a service and released ten typefaces. Inside the marketable package are carefully constructed typefaces specific to a time or culture that House Industries revitalized through collaborations or by mining their vast archive of social material. House Industries has grown with their library and its versatility, with popular sans serifs like Neutraface and Chalet as well as innovative OpenType families like Studio Lettering and Ed Benguiat Fonts. These also develop original merchandise like T-shirts and funky pillows. I found that the Street Van was an interesting font, i was attracted to the king because of its curvature and smooth movement of the text.

[T-26]

This was launched in Chicago based Segura, Inc., in 1994, the digital type foundry [T-26] was representative of the significant shift the type industry was experiencing a multitude of designers who could now create typefaces without the training or experience of their predecessors. [T-26] sought to license and distribute typefaces from start up designers or students. Including traditional print designers like Michael Strassburger, Greg Samata, Paul Sahre, and Margo Chase. The [T-26] library had a wide range of typefaces with grunge, techno, retro, organic, and more uncategorizable typefaces. The 99 cent-regular black caught my eye because of its bold typeface but sleek tall look.