Publisher: Canada TypeTen years or two after his unique treatment of Garalde style with Trump Mediaeval, Georg Trump handled the transitional genre with Mauritius, which was to be his last typeface. He started dealing with it in 1965. The Stuttgart-based Weber foundry released a handout previewing it under the name Barock-Antiqua in 1967, then revealed the availability of the metal types (a roman, a strong and an italic) a year later. The worldwide printing market was currently in third equipment with cold type innovation, so there weren't that many takers, and Weber closed its doors after more than 140 years in company. Subsequently, Trump's swan song was unfairly neglected by typography historians and professionals. It never made it to film innovation or scalable typefaces. Hence, one of the most original text deals with ever made, done by one of the most prominent German type designers of the 20th century, was buried under years of numerous technology shifts and fading records.
The metal cuts of Mauritius appear to have actually been entered Weber's desperation to survive. So the only impressions left of the metal type, the sole records remaining of this design, reveal substantial problems. Some can be credited to technological limitations, but some concerns in colour, precision and fitting are also quite evident, particularly in Mauritius Kursiv, the italic metal cut.
This digital variation is the result of consuming over a great designer's final type style effort, and trying to comprehend the factors behind its disappearing from typography's cumulative mind. While that understanding remains for the a lot of part elusive, the imaginative and technical work done on these fonts produced very concrete results. All the obvious problems in the metal types were solved, the design was expanded into a bigger amily of 3 weights and two widths, and plenty of 21st century bells and whistles were added.
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