The Macintosh computer, marketed by Apple from the mid-1980s onwards, was the tool that allowed designers such as Rudy Vanderlans and Zuzana Licko, who published the magazine in California between 1984 and 2005, to create a new visual language.
Emigre was the first magazine specialising in typography to grasp the need for a change in graphic design in the digital age. In its pages appeared representatives of a new sensibility that challenged the modern canon with typographic experiments that fragmented composition and challenged the legibility of texts.
The magazine caused quite a commotion in the world of graphics at the end of the 20th century and represented the fracture between the old analogue generation formed in the spirit of the modern movement and the new post-modern generation that was beginning to develop in a digital environment.
But beyond the debate within the profession and the academy, the media ended up assimilating and appropriating this radical aesthetic to turn it into the language with which advertising, magazines and television addressed the young people of the time.