Rudy VanderLans Bücher

During the late 1980s and throughout the 1990s, graphic design was experiencing one of its most exciting and transformative periods. The Apple Macintosh computer had been introduced, design schools were exploring French linguistic theory, the vernacular had become a serious source of study and inspiration, the design and manufacture of typefaces was suddenly opened up to everyone who could use a computer, and for the first time in the United States, New York City was no longer the place to look for the latest developments in graphic design. And in Berkeley, California, across the bay from Silicon Valley, Emigre magazine, like no other, recognized the significance of the events, and became both a leading participant and a keen observer of this innovative international design scene, generating a body of work and ideas that still resonate today. Fueled by Emigre's successful digital type foundry, the magazine became one of the most popular and controversial graphic design magazines of its time. 69 issues were published in a variety of formats, featuring in-depth interviews with fellow design trailblazers and critical essays by an emerging group of young design writers. This book, designed and edited by Emigre co-founder and designer Rudy VanderLans, is a selection of reprints, using original digital files, tracing Emigre's development from its early bitmap design days in the late 1980s through to the experimental layouts that defined the so called "Legibility Wars" of the late 1990s, to the critical design writing of the early 2000s. Emigre No.70 is a must have book for those who missed out on all the excitement the first time around and for those who have been long time Emigre fans alike. Any graphic design library would be incomplete without it. Featuring interviews with, among others, The Designers Republic, Allen Hori, Rick Valicenti, Vaughan Oliver, Mr. Keedy, Ed Fella, and essays by Lorraine Wild, Anne Burdick, Zuzana Licko, Kenneth FitzGerald, Andrew Blauvelt, Kalle Lasn, Rick Poynor and many more

For almost twenty years, and over sixty issues, Emigre has been a sourcebook of ideas, fonts, images, work, products, and even music for an entire generation of designers. Now, Emigre has transitioned into a new format, a return-to-roots series of "pocketbooks, " focusing on critical writing about the state of graphic design. Anyone interested in contemporary design will want to put a copy of Emigre in their pocket.

On the outskirts of civilization, where suburban man stumbles over nature, an untold drama is taking place. A relentless effort by present day frontiersmen to tame and overcome the inhospitable California desert. Rudy VanderLans takes us to the heart of this spectacle, where suburban elements meet vacuous space, where dubious claims of commerce stand fragile against a harsh light, where contemporary dwellers impose incongruous notions of luxury on a magnificent wilderness landscape. Supermarket captures the folly and the beauty of this colorful drama in all its ambiguity, with astounding photographic spreads that come at us like film, taken at slightly different angles, juxtaposed or duplicated in singularly bold symmetry. The iteration of the images so leveraged simulates a spatiality that transcends the ordinary two-dimensional page. Supermarket is a disturbingly beautiful book that takes us on a poetic journey through VanderLans' California, documenting our sometimes successful, sometimes futile attempt to transform an unfriendly environment into a bearable, happy land. Rudy VanderLans, co-founder and editor of 'Emigre' magazine, brings us inside this desert environment in small steps, taking us along the California coast heading south and then east through the built environment, setting the scene for our final destination.

Inspired by artists like Edward Curtis and Charles Schulz, who devoted their lives to a single objective, Rudy VanderLans continues his pursuit to create a consistent body of work of postcard-size images, rendering a comprehensive portrait of California in the early part of the 21st century. VanderLans, who is often drawn to places with fantastical names -- like Oleander Sunset --wanders about California's back roads with eyes wide open. Without theorizing, or searching for subjects, he allows himself to be receptive to the world around him and discovers beauty in the most ordinary locales. Like the men who named the cities and towns he visits, VanderLans makes the mundane seem less so, and in the process shows us what's been overlooked. Oleander Sunset juxtaposes single images on opposing pages, setting up dynamic formal and contextual interactions through contrasting, complementing and reiteration. The book is interspersed with a number of fold-out panoramas, placing the viewer smack in the middle of the author's habitual stamping ground.