Phantom Radio is an occasional radio station of the Werkplaats Typografie broadcasting live at irregular intervals. This booklet, published during WT’s residency at HMCT Los Angeles contains an introduction, a water analogy, a beginner’s guide to radio, a manual for the Phantom Radio, a series of drawings by Mathew Kneebone, conversations with Luke Fischbeck from Kchung, Alejandro Cohen and Ajay Ravi from Dublin, and a postcard from Redondo Beach. Made possible with the generous support of the Typography Center.

As part of Speelplaats, a parallel program of Werkplaats Typografie, participants challenged what was being offered in the school’s curriculum by introducing improvements or suggesting alternatives. Reader, aantekeningen exemplaar brings together these contributions made to the Speelplaats program alongside other like-minded initiatives by participants, guests and tutors in the shape of examples as well as reference texts and other materials. The reader borrows its title from an annotated copy of the catalogue Ruimtelijk Werk (1983), found in the library of Werkplaats Typografie, in which Wigger Bierma had penciled down what could have been done more consistently or what was lacking in his original design.

This is a set of sample material only to be used for the deconstruction of a process. It contains a set of eight posters presenting a research on glass blowing production.

Eigengrau  2015 – 2017, an ongoing study of the positive afterimage and its effects.
The phenomenon of the positive afterimage is created when a person, standing in dark room, experiences a sudden and short flash of light. This results in a ‘positive’ afterimage of whatever the person was looking at at the time the flash went off. This image is ephemeral in the sense that it dissipates within seconds of being created but at the same it creates a memory, we can relive that image only in our minds. Every afterimage is unique and can’t be captured by any form or technique we have available at the time. Studying this afterimage therefore becomes an exercise in studying its effects, its lingering traces on the people that experienced them.

In this photobook, Anneke D’Hollander investigated the interior of an apartment that seems inhabited by the phantom presence of its dweller.
By abstracting the look book format, this publication documents the traces of a remote connection between the kingdom of virtual reality and a domestic landscape. It shows the so-called “SlothLife” lifestyle in an intriguing, yet confronting way.

“…someone who is living the SlothLife went through many years of fine-tuning the art of doing absolutely nothing, even though it appears shit’s getting done. A senior sloth has very minimal care and kicks back by spending life for what very little they feel like doing. Once you’re living the sloth life, all you need to worry about is where your next meal comes from, and who’s bringing it to you.”

Wishing to capture the sun while facing the impossibility of doing so with a standard camera Chantal van Rijt used the basics of photography and the eye itself to cause a projection. This tactile publication brings together multiple layers, showing parts of the surroundings in each image. In the shadows of the shining sun the process and the maker are present. The sun makes this all visible, even though in the image the sun is only a white spot where the pixels are burned out.

In diesem Buch geht es um Tiere, die der Mensch zu Kriegsteilnehmern gemacht hat. Die militärische Nutzung von Tieren spielt seit Anbeginn der Kriegsgeschichte eine entscheidende Rolle. Tiere sind ständige Wegbegleiter, jedoch keineswegs ebenbürtige Partner der Menschen. 32 erstaunliche, skurrile und bizarre Tiersoldaten dieses Buches zeigen, dass der Mensch keine Grenzen kennt, wenn es darum geht, sich gegenüber dem Feind einen Vorteil zu verschaffen. Woher kommt die Selbstsicherheit, mit der der Mensch sich die Fähigkeiten der Tiere zunutze macht ? Welche Konsequenzen hat das für Mensch und Tier, und wie und warum gerät der Vormachtsglaube der Menschen gerade zu Kriegszeiten ins Wanken?
Language: German!

Shelf Life is a special publication with thoughts and texts and images by Jin Kwang Kim (and Paul Elliman). Jin’s work falls between a twin interest in spirituality, which can refer to the search for meaning in present life, and spiritualism, which often refers to a communication with a non- living spirit world from the past or the future. Both terms are formed by the word spirit, which itself derives from Latin spiritus “breath”, and therefore usually relates to non-physical substance in contrast with material things or the corporeal body. In this publication Jin follows his interest in language and graphic design as something that exists in both material forms and as part of a more ethereal or metaphysical spirit of life.

The structure of the book is turned inside out: beginning and end are placed next to each other in the middle of the book. This situation allowed to insert pages between the title page and the colophon that, however, remain outside of the narrative. It’s a paradoxical space that is created, physically part of the book but logically external to it.