Karel Martens prints on what the world discards — dead Stedelijk catalogue cards designed by Willem Sandberg, blank documents, raw packing paper — pulled through a small bookbinder's press. The formes are not type but found metal: car parts, discs, perforated plates, roadside scrap, inked and repeated.

He lays one colour a day and waits for it to dry, sometimes months. Transparent inks overprint into third colours: blue over white makes grey, blue over yellow makes green. Registration drifts between passes, and the drift is the work. His stated taste in type is uneasy and imperfect, like jazz.