Emigre started in Berkeley in 1984, the year the Macintosh shipped, and the machine decided the terms. Zuzana Licko drew Emperor, Oakland and Emigre as coarse bitmaps sized to the resolution the screen actually had, instead of pretending it had more.

The result is black pixels on white paper: hard edges, whole-number sizes, stair-stepped diagonals, dither where a tone is needed. Sixty-nine issues of a magazine argued the case in print, against Swiss neutrality, and won the argument long enough to change what type was allowed to look like.