The idea arose while working at Büro Perndl on a headline lettering concept for an Austrian creative economy magazine: Is it possible to give an independent, contemporary expression to a historically heavily biased blackletter typeface by reproducing it with contemporary tools?

The majuscules of Tannenberg Fett and the minuscules of Roberts Koch's Schmale Deutsche Anzeigenschrift served as the starting point. In a 4 cm wide paper tape we found the simplest tool for reconstructing the stroke characteristics similar to those of a broad nib. Part of the reinterpretation was also the formal adaption of letters that appear difficult to read by today's standards (F, H, K, Z, k, long s, x, y, z) to the grotesque script.

The torn and pasted letters were digitized and processed in contrast until the structure of the tears and overlaps could be preserved in the vectorization. In the end, a less provocative concept was used in the magazine. As Adhesive Nr. Seven, however, the typeface is widely used in the entertainment industry as well as on magazines and book titles.