When Bram de Does was studying graphic design in Amsterdam in the 1950s, the curriculum was still very much influenced by Bauhaus and Jan Tschichold. Lectures on “asymmetrical typography” inspired him to rebellion, and he designed his pages symmetrically, just for the sake of doing things differently from the way he had been taught.
After graduating, he started work as art director at the respected typesetting and -founding company, Joh. Enschedé en Zonen in Haarlem. He proved his talent for type design between 1980 and 1982 when he was entrusted by Enschedé with the task of producing an exclusive typeface for their Autologic phototypesetting equipment. Trinité emerged as an elegant and subtle body text font, which is also entirely suitable for non-literary purposes.



The digitised version of Trinité has an impressive wealth of forms. Ascenders and descenders with three graded lengths, and a sleek italic font which works well with both Trinité Wide and Condensed, all bear witness to the ingenious typographical concept of the font family. It is for good reason that Trinité is one of Holland’s favourite typefaces.