1. Born at Arnhem, Netherlands, 1942. Studied graphic design, typography and type design from 196367 at the Gerrit Rietveld Academy, Amsterdam. He teaches as visiting Professor atThe University of Reading, UK, Department of Typography and Graphic Communication He has designed stamps, coins, magazines, newspapers, books, logos, corporate identities, annual reports and other objects, and many typefaces. awarded the H.N.Werkman-prize for all his typographic work, for digital type designs in particular and for the way he reconciled technology and typographic culture. Gravisie-prijs for the concept of Swift, and in 91 he was awarded the international Maurits Ensched-Prize for all his type designs. article Landscape with Letters (1989) book Terwijl je leest about reading aboutLegendary Type and Graphic Designer

2. The logo shown here incorporates references to several aspects of film: movement (in the way the letters enter the areas) and sequence. The areas themselves are references to the cinema screen and television screen and to the sprocket holes on either side of classic celluloid film. logo designDutch Film Fund 3. Following the Italian model, the hospital has changed from a centralised and closed institution into an open organisation which has been dispersed over the region (Overijssel) and now returns many patients to a life in ordinary society. The new logo reflects this approach as a unity consisting of individual components. identity designZwolse Poort, a psychiatric hospital 4. first professional type design was Markeur, for Joh. Ensched & Zonen, Haarlem. By 1970 Enscheds last punchcutter, Henk Drost, had few opportunities to practise his original craft, so the typefoundry had looked for a new sort of work: signage, with letters cut into laminated plastic sheets. For this purpose Sem Hartz had designed Pan- ture (1971), a series of seriffed capitals. designed as a sans serif alternative. The rounded corners are the result of using rotating bits. type designMarkeur 5. Designed for signage on theAmsterdam metro. As a fair proportion of the signs are illuminated from within, using fluorescent tubes, the principles of optics were taken as the basis for the design. Whatever form an opening has triangular, square or polygonal the light shining through it onto a surface always tends to form a circle. M.O.L. is rounded throughout as a device to make illuminated lettering more even and legible. type designM.O.L. 6. One of the first digital typefaces. In the Digiset, a composing machine manufactured by Dr.-Ing Rudolf Hell GmbH of Kiel, Germany, letters were formed by a cathode ray tube and were built up of fairly coarse pixels. Photosetting was then still an imperfect technology and Demos was designed to resist distortion such as rounding of corners during the photographic process. Experiments with counters (see M.O.L.) were carried further with this design. In Demos there is relatively little difference between thick vertical and thin horizontal parts, which facilitates linear enlargement and reduction because it makes types in small sizes less prone to distortion. Demos is a robust, modern-looking typeface with open counters, a tall x-height, and blunt serifs. Because it was originally intended for use in the typesetting of newspapers, Demos is both legible and economical with space, making it suitable for book typography as well. type designDemos (1975) 7. Praxis is the sans serif counterpart to Demos, and like Demos it was designed for the Hell company. Praxis and Demos share important characteristics, such as open counters, a tall x-height, and blunt stroke terminations. Both faces have very little thick/thin variation, which facilitates smooth linear enlargement and reduction. Like Demos, Praxis is a flexible and legible typeface that works well in small point sizes and on low-quality paper (office documents, newsletters, newspapers, etc.). type designPraxis 8. Hollander, another type designed for Hell, is related to Dutch types of the seventeenth century and was to some extent modelled on types attributed to Christoffel van Dijck Compared with Demos and Praxis, Hollander is freer and more refined. Hollander has generous proportions, a tall x-height, and high contrast between thick and thin strokes. Hollander has a well-drawn stability that maintains legibility even on inferior quality paper. type designHollander (1983) 9. Flora started off as a type for his own use and named after his daughter. Flora was taken over by ITC. The InternationalTypeface Corporation, New York, now no longer in existence as an independent company. Unger used a chancery cursive skeleton in this design, which imparts grace and movement. Flora was also intentionally designed to be simple and sturdy, and with its minimal variation in thick/thin stroke ratio, it worked well on the early digital typesetting machines. In 1989, the InternationalTypeface Corporation released the font. ITC Flora continues to work well on current printers and typesetters, and it has an enduring popularity for uses that range from short text passages to display headlines. type designFlora (1984) 10. During the early 1980s, Gerard Unger first designed Swift for a company named Dr.- Ing. Rudolf Hell GmbH. Known as Hell for short (a surname meaning bright in German), this company produced the very first digital typesetting machine the Digiset, back in 1968. Hell had clients the world over, many of them in the newspaper industry. Swift made the biggest impact of all his designs. The Swift family brought in a breath of fresh air to 1980s newspaper design. Linotype, which acquired the Hell company in 1989, has been distributing Swift since the mid-1980s. Around 1995, Linotype worked together with Unger to create new OpenType fonts based on Swift 2.0. These would not offer small caps and old- style figures as separate fonts. type designSwift 11. The first laser printers had a resolution of 300 dpi* and no hinting. This meant that a face like Optima (1958), with verticals that become subtly wider at top and bottom, was badly misshapen. Even so, Bitstream wanted a type of this kind and the result was Amerigo. Optima is broad, soft and round, whereas Amerigo is narrower and sharper, with terminals that end wider and a bigger contrast between thick and thin. Optimas italic is a sloped roman, whereas Amerigo has a genuine italic. Amerigo is not tied to a technology that was soon superseded, and it can also be used in the present high resolutions. type designAmerigo Optima Amerigo 12. Inspired by typewriter fonts and a subtler and more modern variant: narrower, more open, with tapered serifs and proportional spacing. Alongside the usual versions roman and italic in both normal and bold this added two narrow, informal variants. type designOranda 13. He is always been fascinated by letters with large counters. Experiments with legibility and ways of saving space led to Gulliver, the enlargement of counters has reached its limit. Gullivers x-height is extremely large (and, as a result, its ascenders and descenders are short). Gulliver has virtually the same vertical proportions as sans serifs like Univers . Short serifs (the opposite of Swift) allow the letters to be placed even more closely together, giving an even more economical type. Gulliver is used for its good legibility and in newspapers it is liked by both older and younger readers (older readers: we can read the paper again; younger readers: the paper looks modern). Gulliver is also sometimes used in books. type designGulliver (1993) 14. links www.gererdunger.com www.youtube.com www.wikipedia.com Books While reading referances