He has also designed several typefaces for signage, including the one used for the Amsterdam Underground and in , in conjunction with the Leiden-based company n p k industrial design, a new face for Dutch road signs, commissioned by the Dutch tourist organisation ANWB. He headed a team of six designers, working again in conjunction with n p k.
Part of this project was a new type family, Capitolium , to be used in seven languages and in different technologies, including public touch screens. Unger also designs corporate identities, magazines, newspapers and books, writes regularly about graphic design and typography and lectures abroad. Awards include the H. Werkman prize and the Maurits EnschedZ prize His Dutch language book about the the reading process, Terwijl je leest … [While you read …], was published in by De Buitenkant in Amsterdam.
Gerard Unger: My father worked for a textile manufacturer, Rayon, so I grew up hearing about graphic designers and seeing their products — Rayon Revue by Otto Treuman, for example. GU: He was the son of a trained typesetter. My father was a commercial man, with a self-taught interest in design and the arts.
Publicity was part of his job. GU: My eldest sister paints. My eldest brother, who became an art historian, used to communicate with a friend, who is now a famous illustrator, through self-drawn magazines with comic strips. I was born during the war — dark days. I can remember myself improving his work liberally with a pencil.
My father brought things home: catalogues designed by Sandberg; and books, mostly French, as he was a Francophile. GU: One of my part-books was an atlas. I spent hours studying the way mountains were represented. I must have been eleven or twelve. GU: During my extremely unsuccessful stay in secondary school, I designed posters, programmes and backdrops for most of the school plays. GU: I suffer from a mild form of dyslexia. I have problems with numbers especially. So, by the time I had gone through the military service, there really was no other choice.
I went straight to the Rietveld Academy. I had started drawing type already, after seeing an exhibition of work by Van Krimpen for the Dutch PTT: simple drawings with pencil on paper. My career started in the classical way, by imitating a master. GU: You have to realise that education over the past 30 to 35 years has changed enormously.
My final show included a poster, an annual report, a menu, a stamp, all kinds of things like that, and one or two special projects. It was a very practical education. Nowadays students do their final show with one single project that is entirely personal … some of them are strange, weird, beautiful, but have hardly anything to do with graphic design.
So I think the best part of my education was that it forced one to be flexible. The change in graphic design after was enormous, so I think they were wise in training us that way. Even within the Netherlands there are huge differences. A colleague who was teaching at the art school at Utrecht and at the Rietveld Academy asked her students to design a browser. What do we need a browser for? What else could perform the functions that a browser could do?
GU: Much less. Advertising is bad. One was from the Piet Zwart direction of design, of The Hague school and the other was a more traditional designer. To have those different view clashing within myself was very instructive. GU: Yes, almost by definition, but I would always try to make what I thought was best for myself.
I never tried to please either of them. GU: Absolutely, though some issues have not disappeared, such as the whole attitude towards branding. GU: I wanted to combine these scholarly surroundings with the anarchistic atmosphere of the Rietveld Academy. Students at Reading have to write a lot of essays, pass a lot of examinations. The emphasis is on design that relies heavily on theory, which is information design.
So the pure kind of graphic design, with freedom to handle shapes, colours, themes, whatever, does not exist at Reading. There is hardly any theory, which is a very Dutch thing, by the way.
So I take parts of the Reading education to the Rietveld and vice versa. Can we have more of these lectures. JLW: Do you feel that your students leave these institutions prepared for the world of graphic design in the way that you were? GU: That is one of the great wonders of education in general. As soon as you turn these people out into the real world, it goes right! They have no difficulties finding that out and getting along with it. Students go for designing for the screen, and not for paper.
I have the impression that it is a temporary development. What is bad is that the institutions go with the flow to try to please their students. GU: Yes, ten years ago it was normal practice to teach typography. Now I have to prove to my colleagues that typography is a necessary thing to teach, and I have to sell it to the students. That I have to defend my niche is not a bad thing, but now the niche is almost not there.
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