Blackletter does not fight a strict layout. It needs one rule: use it rarely and set it large.

Twelve columns divide by two, three, four and six. That is why everyone keeps coming back to it.

We test every sans on five words: Hamburgefonts, Rhythm, 1234, Zürich and a client name.

Six hours at a press in Leipzig, three test sheets, and the moment a blue turns into the right blue.

The same letters look different on uncoated, coated and recycled stock. We choose the paper first.

Thread-sewn, glued or stapled: how the spine shapes the grid on every page.

Every alphabet we draw starts on paper, because a curve made with a wrist is different.