Your logo for the Randstad Uitzendbureau was created around the same time Wim was experimenting with the New Alphabet, a font based on the limitations of the computer screen. From then on I knew I was on the right track. My dream was to make some ‘Crouwel’ style work and eventually I made a poster that I was happy with. From time-to-time he gave me commissions for texts, illustrations, layout jobs and work he was not too interested in doing himself. At the IvKNO, Wim was my absolute design hero.
Wim had achieved a lot more than I had in only a couple of years and he was by far the most innovative designer among the small group of ‘real’ graphic designers working in Amsterdam back then. Yes, although he was only about 640 days older, he really did have a great influence on me at that time. Do you think he helped to shape you as a designer? And yet Wim Crouwel was only two or three years older than you at that time. Photo: Jan Versnel It was very modest of you to describe yourself as a ‘Junior Designer’.
Dick Schwarz, Friso Kramer, Benno Wissing, Ben Bos, Paul Schwarz, Wim Crouwel. I had probably settled for ‘Junior’ because of my great respect for the other guys. Was I stretching too far? What heights could I reach? Later I realised that ‘Junior’ was indeed a bit unwise – the title ‘Designer’ would have made things easier for me. Overall, my output had been very limited at that time and I was not too sure that I could cope with the expectations of the Senior Designers. So what I might have been thinking when that photo was taken (in February 1963, I think) was: “LISTEN, ABSORB, NOTE, LEARN” and “TRY TO RAISE YOUR OWN STANDARDS AS FAST AS POSSIBLE… YOU CAN DO IT!” I was given the responsibility of supervising the studio staff. Painfully aware of my humble achievements, I allowed myself the title of ‘Junior Designer’, emphasising the big gap between the ‘Senior Designers’ and myself. So there I sat, surrounded by the already famous Wim Crouwel, Benno Wissing and Friso Kramer, our ‘Senior Designers’. This approach ensured I became art director there eventually.Īt the time that photo was taken, I had the feeling that my ‘practical’ experience as a designer had been virtually non-existent. I was also running a small design practice of my own at the same time, and developing my position at Ahrend as the ‘man of ideas’. At that stage I had been working with Ahrend for nine years – starting out as their copywriter, taking evening classes at the Amsterdam Graphic College (graduating in layout after one year with honours), followed by five years attending IvKNO evening classes, four or five days a week (also graduating with honours). Every time I look at the picture my eye is drawn to the attitude of Benno Wissing – he looks very animated and alert, about to spring up with an idea or suggestion. The Herengracht building was under total refurbishment, it was one of the most severe winters of the century. So the answer is short and sweet: NO! About a year ago a colleague of mine was writing about my former teachers at the IvKNO (the predecessor of the Rietveld Academy in Amsterdam) and asking me about what projects Charles Jongejans, our principal tutor in typography, had given us? My reply was, “Dear Jan, that was 56 years ago, I just have NO IDEA!”.īut to be fair, I do have some clear memories of that time. Can you remember what you were thinking when this photograph was taken? You look so deep in thought?Īt my age the art of remembering is certainly not at its best. You all look very ‘cool’ and very serious about the great adventure you are about to undertake. Can we start with this iconic photograph from 1963.
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