Check out this interview with German designer Erik Spiekermann. Thanks Behance!
"With eight floors dividing the space instead of walls and an entire floor dedicated to his small printing press, the building is atypical and not just for German standards. See the pictures of this design and typographic haven by Max Zerrahn and read the entire interview on FontFont news."
"I have a small proofing press, a Korrex Nürnberg 38 by 55 cm. It prints letterpress from wood or lead type, woodcuts, polymer plates or anything higher than its surroundings. I have lots of metal and wood type, from 8 point Akzidenz Grotesk to 33 line wood type, plus all the other stuff needed to set type. And also two table-top platen presses which in German we call Boston-Pressen."
"Can you recall how your interest for paper, type and the smell of (ink) color – the aphrodisiacs of printing – first came into being? Yes. When I was around seven or eight, we had a neighbour who was a printer. I remember him showing me a piece of white paper. Then he showed me a printing form – some columns of type and all the furniture around it – which looked very complicated and messy to me: a lot of metal and ink. Then he took a proof from that form onto the white paper, and like magic it showed only a few precise black marks, while the paper was still clean and white. Those marks were letters that I could read and the whole process was a miracle to me. That is when I fell for type and printing. Now I come back to that original technology of putting marks on paper: letterpress printing."
"You had a printing workshop back in the seventies but unfortunately it caught fire. It must have been absolutely devastating … Now looking back with healed wounds: do you think there was something positive about it? After my workshop, presses and type burnt down, I had only pencil and paper left, plus my brain and experience with type – all the tools a graphic designer needed at the time. I was forced into a career that I had no formal training for. And still don’t. But in a situation like that it didn’t matter. I just sketched type for other people to set and became knowledgable about photosetting and type design. Two years after the fire in 1977, I designed my first typeface for Berthold, LoType."