To i le ts S e nso r y E x pe ri m e nt i n Li mi t e d S p a ce s This was the second edition of statutes printed for De Ploeg after Werkman became a member. The cover, shown here, displays the De Ploeg logo designed by member Ali Pott. This was selected as part of a competition in 1919 and was used in several versions. The bold use of foreshadows Werkman's later typography. The literaty value of Blad voor Kunst was negligible, but it was the first attempt in Groningen to produce a magazine devoted to modern art. Werkman's striking cover consisting of black and yellow retangles on a red background clearly reflects the influence of De Stijl. The use of purely abstract forms represents a major step for Wrekman. This flyer announced the publication of The Next Call. At the bottom of the sheet the publisher was listed as "Travailleur en Cie" ("Workman & Others" in French), but everyone knew it was Werkman fron the address "Lage der A13" An attraction to printing manifested itself early in life. Werkman's younger brother Martinus Hendrick wrote that one of his earliest childhood memories was of Werkman printing a newspaper during a winter evening under lamplight: "The secret world of printing types must have attracted him even through he had barely turned eight... Those who knew Werkman were hardly surprised when his printing company collapsed in 1923. Willem Sandberg later sommented that anything practical was beyond Werkman's grasp and Werkman's assistant Bos recalled how when some new company stationery had arrived wit the telephone number missing, Werkman's nonchalant reaction was, "Oh well, just leave it as it is. I've already had enough bother with that telephone." The third number of The Next Call, mailed on 12 January 1924, was visually the least captivation. Published only
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