This beautiful cover image is from a booklet describing the Rotofoto process, a photomechanical composition system developed in the late 1930s by George Westover, who had worked for Monotype.* Rotofoto, Uhertype (a Hungarian–German system), and the American Intertype Fotosetter are interesting because they show hot-metal type designs being adapted for photocomposition, and setting a high standard right at the start of commercially viable photocomposition.
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