It was from asking me to do for a magazine concept (GQ) a Didot like typeface which should have a definite “computer influenced” shape. At this time we both experimented a lot with what later became a series of experimental typefaces. I started out doing some very rough sketches of characters that have a free classicist Bodoni spirit but consisted mainly in straight Bézier curve segments put together very quickly. Certainly my years long studies around the Italian punch cutters’ typefaces of the 18th century were quite helpful to not feel the need to hassle a lot with these shapes. They came quite natural to me and most of them stayed as they were originally sketched in the first trials.