Culture2024-05-29

Words by Michel Wlassikoff

The Lumitype saga: France’s early attempts at phototypesetting

The Lumitype was the first phototypesetting system, introduced by Deberny & Peignot in the late 1950s. The technology was revolutionary in terms of impact on printing, by leveraging advanced technologies from automatic telephony, ultra-fast photography, and electronics to surpass traditional metal typesetting in quality and productivity. The catalog notably omits Charles Peignot’s role in the outbreak, reflecting the foundry’s shift away from his influence, about 15 years before the company’s closure.

The introduction to the Lumitype catalog published by Deberny & Peignot in the late 1950s includes a brief history of the invention of the first photocomposing machine:

“It was in 1944, in Lyon, that MM. Higonnet and Moyroud had the idea of a photographic composition machine. The problem had arisen since the appearance of offset but had not received a valid solution despite numerous attempts. The adaptation to this problem of the means used in automatic telephony, ultra-fast photography by electric flashes and the electronic technique in force in calculators or computers has made it possible to achieve machines that outperform lead typesetting machines in quality and productivity. The first Lumitype machines were built in the United States and one of them presented in 1954 at the Salon des TPG [Paper and Graphic Techniques Fair] in Paris. Shortly after, continued manufacturing was undertaken in France which made it possible to equip many French printing houses with phototypesetters from 1958.”

This introduction sets the tone: this exceptional machine has proven itself, is part of history and traces the future of printing. The most notable companies that have adopted it are also presented in the conclusion: Berger-Levrault, Sirlo, Typo-Elysées.

This summary, which highlights the two engineers, Higonnet and Moyroud, who invented the process, and omits Charles Peignot’s role in its implementation, is indicative of the evolution of the foundry in its later years, which passed into the hands of the aforementioned Higonnet and Moyroud to the detriment of Peignot, who was soon ousted from the company, before it collapsed and closed its doors.

Notwithstanding, the brochure is a guide intended to better master the use of the Lumitype, specify its qualities and respond to criticisms that have emerged over the course of its implementation. If the machine can claim greater flexibility in typographic composition, it is not devoid of faults particularly concerning approaches and justifications, which many typographers consider difficult to control. Long explanations are intended to reassure users on these issues, as well as on automatic alignment, automatic insertion of leading points and blanks, corrections, etc.

As for the “list of Lumitype typefaces ”, it gives pride of place to the twenty-one series of Univers, typeface used in the brochure – including the layout and cover which are similar to those of the printed materials promoting Univers, are probably due to Rémy Peignot.

It’s worth noting that the typefaces on offer are part of Deberny & Peignot’s heritage and the work of Adrian Frutiger, who was specially hired to transpose the most popular types (Garamont, Sphinx, Baskerville and Bodoni) into photocomposition, and then asked to create several others, including Méridien and above all Univers. Also offered: types purchased from other foundries: Janson [sic], Plantin, Caslon, Perpétua, Times, Clarendon. In the pipeline: Beauchamp, Imprint, Gras-Vibert, Calligraphiques noires, Cancelleresca, Century school book, and additions to Times and Bodoni.

Documents: École Estienne library

Deberny et Peignot, Catalogue Lumitype, circa 1958.
Deberny et Peignot, Lumitype series 500, circa 1960.
Deberny et Peignot, Caractères Lumitype, circa 1962.