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EmigrĂŠ, which had been published erratically, settled into a quarterly schedule. In designing EmigrĂŠ, VanderLans rejected standardized formats in favor of organic grid structures that reflected his enthusiasm toward the contents. Computerized page composition gave him the flexibility to reinvent the look of the magazine with every issue. Sometimes several articles would run through the pages concurrently, each text differentiated by font, size, leading, and column width, creating an impression of eavesdropping on several simultaneous conversations. Nuanced type variations within sentences created the mood and rhythm of spoken words. Even the logo has gone through several permutations. When their work began to receive public attention, it was attacked for promulgating visual incoherence and viewed as a threat to Modernist ideals and an affront to universal notions of beauty.
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