In an April 2010 email to Stephen Coles, I asked if he had ever seen this typeface, enclosing the images at left. Distracted by life and train rides, I managed to do half of the roman and Reynolds half the italic. I marveled at this typeface for years and, in 2010, started to digitize it with Dan Reynolds. This folder turned out to contain specimens and ephemera of all of Trump’s typefaces for Weber, including proofs of an unfinished design: “Proben einer neuen Barock-Antiqua”. Ever since I haphazardly bought a random folder with type ephemera in a used book store in my first year in college, 1994, I was attracted to, or rather dragged into, Trump’s work. I know the typeface intimately, but have never used it. Last year, Canada Type released a revival, ticking off the last remaining Trump face not yet digitally available. Trump, then in his 70s, completed his oeuvre with the design, as though ticking off the third grand genre of text faces after his rational Schadow and Trump Mediaeval. First shown in 1967 as trials for a “Barock-Antiqua” (Transitional serif) by the Stuttgart Weber foundry, it remained largely unrecognized. Mauritius was the last typeface designed by German lettering artist Georg Trump. It was just a matter of time until someone did it.
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