
The Uhertype, whose types are comprehensively discussed by Christopher Burke in his book Active literature: Jan Tschichold and the New Typography, had a comprehensive programme of type design, including versions of Monotype’s Gill Sans and Deberny & Peignot’s ‘French Roman’. The Fotosetter’s first typeface seems to have been Garamond, chosen no doubt because it showed off the phototypesetter’s ability to handle kerning.
The Rotofoto, reflecting its roots within the Monotype Corporation, offered Times New Roman and Monotype Old Style series 2. It’s not clear whether these were redrawn to any degree, or simply photographed from pulls of Monotype-set metal type. The Monotype connection was necessary: the keyboard for the Rotofoto was a Monotype one, and the unit widths of Rotofoto designs would have had to match those of the parent Monotype font.
I’ll be talking more about these and other early phototypesetting machines and the types they used at the ATypI conference in St Petersburg in September.
* See Boag, Andrew, ‘Monotype and phototypesetting’, Journal of the Printing historical Society, new series, 2, p. 58
Hi Luna,
ReplyDeleteI am glad to find your blog on the net. I am researching about the phototypesetting and the necessary adjustments in the type design for a lecture I will give to my students in the UFPE. Hope all in Reading are fine and sound.
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I found your article very interesting, did not suspect the existence of this program, thank you for sharing useful information!
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