In the original work (The Next Call #06, november 1924) Werkman combines, in one hand, different typographical blanks of the same size generating a cadence feeling and, on the other hand, in its final page, the back of different letters of the same body (equal height and variable with).
Interpreting both options, one propose a composition using different sizes of typographical blanks ordered from lowest to highest and from left to right. The not printed surface of this typographical material provides, in turn, different “acabados”, which contribute to achieve a composition with remarkable textures and rhythms.
The small text placed at the bottom with the sizes of the pieces, beyond an apparent reference function, attracts the observers attention to look closer in order to decode it and, therefore, to get a basic view in which textures unfold with all its expressive value.
Each poster was printed in two steps; with the vertical press as main element and with a manual Boston for the text below. Although in both cases the printing was carried out with conventional systems, the fact of typographical blanks having a similar height than the rest of the adjusting elements linking with the fact that not all of them were regular obliged a typographical mounting not at all conventional, placing the inked pieces backwards and lifting adjusting elements with cartons of the same thickness.
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