These principles were divided into four categories, which according to him could apply to every human production; functionality for the user (legibility in the case of typefaces), harmony (for aesthetics reasons), practical ergonomic applicability for the manufacturer (the type foundry and compositor) and originality (‘because otherwise there is no use in making the thing’[3]).

De Does was of the opinion that harmony on the printed page had been the most powerful in the early Renaissance incunables, and that they present a stronger, more regular overall image.

De Does identified two factors that he thought contributed to this impression: the fact that the characters are subtly slanted, and that the serifs are slightly longer towards the right.

However, at the end of that decade, when De Does had already left the firm, Enschedé once again switched typesetting machines (this time the digital Linotronic system) and only kept the old one because of Trinité.

Being an important business asset for the firm, they commissioned De Does and Peter Matthias Noordzij (the designer of PMN Caecilia) to produce digital PostScript fonts of Trinité, using Ikarus M. To distribute the typeface, Noordzij proposed starting a small-scale digital type foundry, The Enschedé Font Foundry (TEFF), on which they released Trinité in 1992.