At the time, the metal characters were engraved by hand by these famous stampers. From the letterpress artist's letterpress design, the puncher transfers the letter to a piece of steel and sizes it by hand. Manual and personal, this meticulous cutting often leads to more or less voluntary typographical modifications, to the chagrin of the typographer. The shape obtained in the steel is then used to punch a copper support, which is more malleable, which serves as a mold to pour an alloy into it resulting in the final letter, used in the press. Mediaeval, the typo that comes from afar As early as 1947, Trump designed the beginnings of the Mediaeval typeface, which he wanted to affirm as a New Roman in the medieval style, " contemporary and respectable.
He wants to make it a book typography, like a Walbaum, Garamond or Janson. At the time, this design was ultra-modern, since it was well ahead of what would later become a fashion. It was therefore later in 1951 that the New Romans now had the wind in their sails. The background remove service Weber foundry is a hit with the Drupa typeface, another Novel imagined earlier by Trump and which he will later evolve into Mediaeval. In 1952, printing techniques changed and the letters were now machine-laminated instead of hand-engraved. The typo will then be more precise and exactly similar to the typographer's sketches. The designer's drawings must be much more precise, because they now serve as patterns and are no longer taken as models copied by hand; it is a real revolution in the printing industry . Craftsmanship and standardization Problem.
Trump has no experience in creating manufactured matrices and takes more than a year to design and validate his first italic or bold versions. He struggles with the width of the italic characters and has to ask a competing foundry, Stempel, for help. We are in 1954. The italic font does not appear until a year later, after new modifications that seem endless . Endless really, if we are to believe all the modifications that the italic and bold versions will have to undergo to adapt to the dies of the Linotype machine. Big galleys. We think a little about the def, then def-def, then ok-final, ok-final-def-1 versions that we can create today... Trump even comes to want to design a special italic version for hand engraving and another for the Linotype mechanized standards... proposal which will be refused. The final versions (?) bold are to be noted in 1956 and 57, but exploited on Linotype only in 1967 (after still some modifications) that is to say more than 10 years after the first bold drawings, and 20 years after the appearance of the first Mediaeval . We can see the beginnings of the decline of small independent foundries increasingly dependent on large mechanized productions of the Linotype style, which gradually took over production. In 1970, Weber closed its doors. IBM in the City For the record, in 1956 Paul Rand used G. Trump's City Medium typography -created in 1931- and redesigned the IBM logo giving it a more 'solid, anchored and balanced' appearance, before adding the stripes that the we know, 12 years later.