One drawing would not represent the diverse content of this book about the karel appel’s works on paper. Therefore signatures from different drawings were chosen for the cover. They show the material (chalk, pencil, etc) and also quantity, enthusiasm and hard work.

Just like a portfolio or an art folder, these drawings were laid in the back of the book.

A few portrait's of Karel Appel on the end papers...

Pencil, charcoal, ink, etc. Karel Appel used an incredible amount of different materials for his drawings, the signatures on the cover give a glimpse of that versatility.

The typography is solved with size and colour, so without the use of bold, italics or a second font. 
There are three essays in the catalogue. Each text has a different colour. The smaller the text the darker it size of the corps is always related to the column width in order to create a readable text.

All drawings were prominently displayed, not too modest.

The text always consists of 100% cyan, magenta, or 100%, or 100% yellow + 70% always black. Italics are also so constructed, but this time with 40% Black, therefore lighter in color. Because CMY is always printed 100%, the text does not fray and is readable.

The titles in the book are in contrast with the colour- system that is used for the text. The titles are red with a touch of blue. A trick Karel Appel used to make red look even redder!