This is the second issue of Emigre magazine in a series intended to expose alternative music and linking it with graphic design. Our main content is provided by The Grassy Knoll's Happily Ever After. This project is a curiosity. After we first heard their demo tape in 1992?and included their music on the Emigre Music Sampler No. 1?The Grassy Knoll did have a brush with the powers-that-be. But their music is a difficult sound to classify, which is probably why their commercial success was short-lived. "Why don't you add vocals?" is a suggestion they've probably heard one too many times.
We think The Grassy Knoll's music can hardly be improved upon and we're proud to release their CD as it's meant to sound. The only thing that could make Happily Ever After any better is a great movie to accompany it, but it requires only that you close your eyes while playing this CD, because their soundscapes will cause images to flow from your mind effortlessly.

To create our own backdrop and to connect the music to the magazine, we hooked up with Thirst's Rick Valicenti, whose collaborative studio has been working on a soon-to-be released book (by Monacelli Press) remixing Thirst's unique graphic history. Valicenti opened up his digital and analog flat files to us, and we plundered his treasure-trove of experimental and random graphic images and found what we feel are perfect matches to accompany the tracks on the Happily Ever After CD. For those having trouble setting their minds free, perhaps these images can help kick-start your full enjoyment of the sounds of The Grassy Knoll.

Introduced in this issue of Emigre is Los Feliz, a new typeface designed by the young and upcoming type designer Christian Schwartz.

Finally, Zuzana Licko will give an overview of the retooling and upgrading of her best selling Mrs Eaves typeface.


Emigre (ISSN 1045-3717) was a graphic design magazine published by Emigre Graphics between 1984 and 2005; it was first published in 1984 in San Francisco, California, USA. Art-directed by Dutch-born Rudy VanderLans using fonts designed by his wife, Czechoslovakian-born Zuzana Licko, Emigre was one of the first publications to use Macintosh computers and had a large influence on graphic designers moving into desktop publishing (DTP). Its variety of layouts, use of guest designers, and opinionated articles also had an effect on other design publications.

The focus of Emigre was both redundant and wandering — both positive qualities as a journal produced by a tight and evolving group of designers and writers with Vanderlans at the center. Vanderlans was typically editor, though guest-editors also appeared (Gail Swanlund, Anne Burdick, Andrew Blauvelt) and the work/writing of Zuzana Licko and Jeffery Keedy reappeared throughout the magazine's history.

The magazine began in 1984 with a focus on the émigré. The first eight issues were concerned with boundaries, international culture, travel accounts and alienation (as the issues' titles suggest). The first eight issues also incorporated a dynamic aesthetic that caught the attention of designers and led to the next stage in the magazine's evolution.

Beginning with Issue 9 — devoted to the art of Vaughan Oliver at 4AD — the magazine explored design in itself, devoting issues to Cranbrook, the Macintosh, type design and individual graphic designers. In two issues in 1992 and 1993, the magazine chronicled the work of David Carson and Raygun.

Increasingly, Emigre became a platform for essays and writings on design. This aspect of Emigre came to the forefront with issues in 1994 and the magazine changed its format in 1995 from its oversized layout to a text-friendlier format that debuted with Issue 33. The magazine retained this character through Issue 59 in 2001.

Emigre then took a sharp turn with four re-formatted issues in 2001 and 2002 that included one DVD ("Catfish," an experimental documentary film on the work of designer and performance artist Elliott Earls) and three compact discs (featuring the music of Honey Barbara, The Grassy Knoll and Scenic).

In its fifth and final incarnation, the last six issues of Emigre were co-published by Princeton Architectural Press as small softcover books. The last issue, The End, was published in 2005.