The beginning of a font sample collection can be found on Instagram under #MOREschrift. At the invitation of Annegret Frauenlob we printed a sample poster with 40 of our fonts for the Hits–Printmakers Top Ten. It can be ordered from us.

In 2015, we won a grant from the Canton of St. Gallen. This allowed us to commission Supercomputer Studio with the creation of a digital type case that corresponds to the inventory of our workshop. It is an attempt to combine analogue lead typesetting with the digital user interface of the computer: Personalised printed matter can be generated and ordered online and will be typeset and printed manually in our workshop. As part of this project, we regularly invite guest designers to work with us in our workshop: In mass media manual typesetting and letterpress printing have long been replaced by offset and digital printing. Our mission is to keep these artisanal techniques relevant both in design and content and thus ensure their survival.

Over the last years we have marbled fabrics, sneakers and flip-flops, flower vases, foldable rules and snowdrops.

In addition to digitizing and designing our own typefaces, researching the varied history of individual typefaces is also part of our design practice. We are interested in type design not only as a history of form, but above all as a cultural history. Every typeface is a microcosm, a compressed time capsule that contains information about aesthetics and technical conditions, the medium of its reproduction, the history of its use and, last but not least, about the personality of the designers involved.

Never before has so much been printed at such excessively low prices than now. For us, working sustainably means, on one hand, working carefully and with concentration, which is what manual typesetting intrinsically demands. On the other hand, design is sustainable if the working time and working conditions of all those involved are handled as responsibly as material resources.

Manual typesetting and letterpress printing are ideal media for understanding design processes, which we also experience and utilize in teaching in university and school contexts. Since 2014, Aurelia Markwalder has been teaching in the printmaking workshop of the HGB Leipzig, now team-managed by Sanna Schiffler and Luise Bartels (since 2025).
We are specialists–nevertheless, in every collaboration, we want our working methods to remain understandable and we communicate what we do and why.

We are not manufacturing for the mass market and focus on small formats as well as limited print runs. This allows us to use deadstock materials from other print shops. This means that we generate a lot less off cuts and waste paper than larger printers. We are delighted to have been able to work with Vary Winterthur, Kamiya Zürich, MZIN and Tschau Tschüssi, Leipzig, among others.

In teaching, hand typesetting is a useful tool to help visualize and practice the role of type and typography in design and to explore where certain rules come from. Slowing down, concentration and restriction have also proved useful in training. The combination of different media in particular makes their respective characteristics visible. Ultimately, we are also interested in the connection to digital and analogue typesetting and design and the questions: What do I want to say and how do I say it?