Nothing about Dutch graphic design duo Mevis & van Deursen conforms to type. Praised for their innovative but clear presentation, they have designed everything from artist’s books for Gabriel Orozco and Rineke Dijkstra to an official government stamp commemorating the marriage of Dutch Crown Prince Willem-Alexander, based on the number two, since the wedding date was 02-02-02. This book represents a range of work from the past 15 years, mostly books but also posters and smaller pieces. However, the artists have chosen not simply to present the work again but to make it new through collage and reinterpretative interplay, thus "recycling" their innovative designs.

The second WT reader publication done with all participants of WT year 05 and 06. A theme ‘the global picked out from the local and the local seeped through the global’ was developed, researched and illustrated with in-house-generated-brand-spanking-new content as well as some carefully selected existing material. Participants formed the editorial team, worked as contributors and, naturally, designers.
With contributions by: Sven Herzog, Peter Robinson, Italo Calvino, Maxine Kopsa, Dirk Herzog, Susanne Stetzer, José Da Fonseca & Pedro Carolino, Eric Cruz, Red Zinia, Louise Dossing, Darcy D. Jeffs, Toshimasa Kimura, Karen van de Kraats, Jeffrey C. Ramsey and Layla Tweedie-Cullen

This book includes an updated version of Dany Jacobs’ essay ‘Creativity and the Economy’, written as a preparation for the Innovation Lecture 2005 of the Dutch Ministry of economics Affairs on ‘Competing with Creativity’. In this book Dany Jacobs illustrates to what extent the cultural side of innovations is even more important than their technology. Moreover, he explains how to think about creativity in a more productive way, in order to increase the chance of success of innovations. This is illustrated with concrete cases from different industries.

This alternative guide to the city of Nicosia, Cyprus, was produced by Werkplaats Typografie participants to accompany Manifesta 6. Following the abrupt cancellation of Manifesta 6 in 2006, Nicosia This Week has now become one of the only existing historical documents of a potentially great event that never happened and a guide book to a city that will in all likelihood remain forever biennial-less.
With contributions by the three curators of the Manifesta 6: Mai Abu ElDahab, Anton Vidokle and Florian Waldvogel as well as Jan Verwoert, Paul Elliman, Yiannis Papadaki, Louise Tu’ and the participants of WT.

Emily: "This publication is in a process of finding out what it is as I do it. I find myself amidst a development in my work. This publication falls in the middle of that as a holder. This development is me trying to move away from transforming objects physically to transforming them through talking about them, or to find a way to incorporate the narrative that arises from a work, as the more dominant part of the work. Through talking about objects, this can be used to place them in a different context, create networks between objects and address associations made through objects."

Artist books – The Dutch Art Institute is one of the master programmes of the ArtEZ institute of the Arts. The DAI is a practice based research institute but grants theory, knowledge production and reflection as important. Because of the international student body DAI does not work with compelling formats, but instead folds thematic seminars and conferences and lectures in a flexible way around running projects. Since 2004 WT and DAI cooperate in editing, designing and producing the yearly graduation booklets for DAI.

The Mundane Science Fiction issue: Tone it down/pull it back. The future never gets old. Metahaven discusses online utopian impulses. Rob Giampietro and David Reinfurt have a slightly phased conversation. Kate McKinney Maddalena provides the etymology of the word "mundane." Task interviews the NASA Earth Observatory. Randy Nakamura tries to hold back his emotions. Catalogtree predicts the future. Daniel Eatock, LUST, Peter Bilak, Sean Donahue, Mr. Keedy, Zak Kyes, and Wayne Daly describe things that never happened. Paul Elliman climbs the Tower of Song. Jimmy Carter addresses alien races. Apollo 8 gets unscripted. Buckminster Fuller coins a term. Christian Bale meets Ettore Sottsass. Google organizes the world. All this in the span of a day, the palm of your hand.

A facsimile booklet in b/w with recipe ‘graphs’ inspired by the meals of touring vegan chef/caterer and pioneering queercore punk musician Joshua Ploeg. Resulting from the workshop held at WT, January 23, 2009 to celebrate the 75th anniversary of Libelle.

Open Impact Channel is an advertising company meeting the awareness needs of companies. Dedicated exclusively to the creation of innovative advertising programs, the principal operators, Cox & Grusenmeyer, provide a new avenue of promotional effectiveness. The public space and artistic environment is the playground! The mission is to invent new carriers for advertising by providing an intelligible re-use of existing promotional material.

Initiatief ‘De Zolder van Duitsland’ maakt deel uit van een reeks van publicaties op initiatief van ArtEZ Academie van Bouwkunst, Arnhem. Dit boek is gebaseerd op het afstudeerproject van Seth de Rooij aan ArtEZ Academie van Bouwkunst. Mentoren: Ralph Brodrück, Wim Korvinus, Ady Steketee en Lada Hrsak. Met dit project won Seht de Rooij in 2006 de Archiprix.

De zolder is de plek van de verdringing, maar ook van de herinnering. Dat wat wordt verdrongen is niet voorgoed weg en kan in principe worden hervonden. Dresden is het symbool van het Duitse collectieve geheugenverlies geworden. Vandaar dat Seth de Rooij in zijn ontwerp de Erlwein-Speicher heeft omgedoopt tot de ‘Zolder van Duitsland’. Deze zolder moet in zijn visie dat wat verdrongen was terugbrengen in het geheugen. Als ‘Zolder van Duitsland’, een depot of pakhuis van hedendaagse kunst, krijgt de Erlwein-Speicher weer een eigentijdse plek in de recente geschiedenis en in de skyline van Dresden.

Language: Dutch

Andrea: “In early 2018, I came back home with a book titled Flower Arranging, an illustrated home reference manual about floral decoration dated 1966. The book was printed in Holland, yet published almost simultaneously in Des Moines (1965) and Glasgow (1966). The volume appeared to be sold in a no-longer existing bookshop in Johannesburg, between Pritchard and Loveday Streets, and eventually travelled back to the Netherlands, where I found it in a charity shop not too far from my house. Soon afterwards I started rearranging its sequence of flower arrangements with the help of Yeliz Secerli.”

“Fehler lesen. Korrektur als Textproduktion” is an essay on textual errors and a personal quest to find them. Misprints demonstrate the vulnerability of a text. Here we catch a glimpse of the pre- and post-production phases, work that is to a large extent invisible. Thus, the juxtapositions of words that are printed and those that are intended (errata) reveal far more than a simple genealogy of wrong vs. right: they document vestiges of the work done in the shadows, the wrestling with language. Displacements, reconstructions, and lacunae become visible. In her essay Tabea tracks the social, linguistic, media, and poetic dimensions produced by correction and textual criticism. Who does the correcting and what traces does this mostly invisible work leave behind? What shifts in meaning do mistakes trigger? To what extent does the medium play a part in authoring the text. “Fehler lesen. Korrektur als Textproduktion” appears as part of the Applied Publishing Studies series.
ISBN: 9783959052320
Language: German

In August 2015, photographer Rebecca Fertinel was invited by her friend Tracy Tansia for a wedding. 
In this way, Fertinel became acquainted with the warm, impudent attitude of life of the Congolese community in 
Belgium and with the Bantu concept of Ubuntu: that you only become human through a connection with everything and everyone. With additional text by Hans Theys. 

Editor: Lecturis
ISBN: 9789462263109

This reader culminates a year of activity under the umbrella of WT Speelplaats.

As the custodians of year 19, — Adriaan Van Leuven and Oliver Boulton — proposed a way of working through imitation. Be it a method, model or base; by adopting the action(s) of someone or something. Imitation, not so much in the aspect of ‘copying’, but in the idea of chewing, digesting and regurgitating an existing thing. Imitation, as something we do naturally, as a pedagogy; a process of learning. Imitation, as a coming inhale, exhale. Imitation as a means to reflect, detangle and recognise our surroundings, times, contemporaries, idols. Imitation as a way to embrace or confront one’s swamped reference pool. Imitation, as an open question, put to ourselves and our colleagues: how do you find your voice? At which point Kathy Acker yelled back at us: “Why [do] I have to find my own voice and where [is] it?”

A collection of 3D power strip models available for purchase online.

Daniel R. & Rudi O. loved their books. Over the course of their lives, they collected around 30.000 all together. This book is a record of the telephone conversations these two men may or may not have had.

An account of events tying the trajectory of Jean-Luc Godard between Hollywood and Maputo at the end of the seventies, my mother being stuck in Switzerland, my current research, repelling magnets, and why failures are not what they seem. Presented at the show "*****WT in LA in February 2017 at HMCT, Art Center, Los Angeles. The publication includes a copy of Les Cahiers du cinéma Nr. 300 with added footnotes as my voice-over, inserted pictures, a copy of the script of Godard’s unmade film "The Story", and a postface added after watching "King Lear" months later.

A flipbook out of which a warm breeze blows.

Ten WT participants asked an equal number of Dutch graphic designers to join forces with them during their work period for the Chaumont Graphic Arts Festival in the summer of 2005. ‘Dutch Resource’ is a report of that collaboration; in ten different sections, each person’s working method becomes apparent and we are shown how the dialogue was put into effect. The book gives an accurate picture of the uncompromising practice of today’s graphic designer, a specialist and jack-of-all trades in one, who is not only meant to be a good designer but often works as a writer, researcher, editor, curator, critic and photographer as well. It shows work from: Lust, Mevis & Van Deursen, Julia Born, Roma Publications, Irma Boom, Maureen Mooren & Daniël van der Velden, Stuart Bailey, Will Holder, Experimental Jetset & Jop van Bennekom.

Between its covers are: a book about typography and graphic design, arranged around work from a single source and incubator, the Werkplaats Typografie. The book shows a selection of the work in thematic pages of images, such as posters, CD’s, books and postcards. Six highly distinctive authors describe the studio’s philosophies on typography and graphic design as well as the Werkplaats Typografie’s intentions and methods.
Edited by Stuart Bailey. Text by Paul Elliman, Anthony Froshaug, Melle Hammer, Robin Kinross, Norman Potter.