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1958 typeface by Hermann Zapf

Optima
Optima font sample.svg
Category Sans-serif
Classification Humanist
Designer(s) Hermann Zapf
Foundry Stempel
Linotype
Date released 1958
Variations Optima Nova

Optima is a humanist sans-serif typeface designed past Hermann Zapf and released past the D. Stempel AG foundry, Frankfurt, West Germany in 1958.

Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima was inspired past classical Roman capitals and the stonecarving on Renaissance-period tombstones Zapf saw in Florence on a 1950 vacation to Italy.[1]

Zapf intended Optima to be a typeface that could serve for both body text and titling. To prove its versatility, Zapf set his entire book About Alphabets in the regular weight.[2] Zapf retained an interest in the design, collaborating on variants and expansions into his eighties.

History [edit]

Zapf cited this gravestone every bit inspiring Optima. Portions of the text are copied onto one of his 1950 sketches.[3]

Interested in calligraphy and the history of Italian press and lettering, Zapf kickoff visited Italy in 1950. While in Florence, Zapf was particularly interested in the design of the lettering in tombstones of the cemetery of the Basilica di Santa Croce in Florence, in which the strokes subtly widen equally they reach stroke terminals without ending in a serif. He speedily sketched an early draft of the design on a 1000 lira banknote.[3] [4] Zapf was to work on the development of Optima during about of the following decade.[five]

In his book About Alphabets, Zapf commented that his key aim in designing Optima'south capitals, inspired past the Roman capital letter model, was the desire to avoid the monotony of all uppercase messages having a roughly square footprint, as he felt was true of some early sans-serif designs. Similar the Roman capitals, Optima's 'E' and 'R' occupy nearly a half-square, the 'M' is broad and its sides are splayed.[vi]

On the proposition of Monroe Wheeler of the Museum of Modern Art in New York City, Zapf decided to adjust his typeface to exist used equally a book type. "He thereupon changed the proportions of the lowercase, and by means of photography, he tested the suitability of the design for continuous reading application." Zapf designed the capital messages of Optima afterward the inscriptions on the Trajan Column (A.D. 113). Optima was the first German typeface not based on the standard baseline alignment. Zapf stated: "This base line is not platonic for a roman, as information technology was designed for the high x-acme of the Fraktur and Textura letters. Thus, too many German types have ascenders which are as well long and descenders which are as well short. The proportions of Optima Roman are now in the Gilt Section: lowercase x-height equalling the minor and ascenders-descenders the major. However, the curved lines of the stems of each letter effect from technical considerations of type manufacturing rather than purely esthetic considerations."[7]

The development of Optima occurred during the period 1955–1958. Optima was first manufactured as a foundry version in 1958 by Stempel of Frankfurt, and by Mergenthaler in America before long thereafter. It was released to the public at an exhibition in Düsseldorf in that aforementioned year. If information technology had been up to Zapf, Optima would have been named New Roman, only the marketing staff insisted that it be named Optima.[7]

Zapf wrote later in his life of his preference for Optima over all of his other typefaces, simply he also mentioned "a father should not have a favorite among his daughters."[7]

Structure [edit]

Optima's design follows humanist lines; its capitals (like those of Palatino, Hans Eduard Meier'southward Syntax and Carol Twombly's Trajan) originate from the classic Roman monumental capital model, reflecting a reverence for Roman capitals as an platonic class.

Optima is an example of a modulated-stroke sans-serif, a design blazon where the strokes are variable in width. The blueprint style has been intermittently favored since the late nineteenth century; Optima is one of the most lasting examples of the genre. Optima was originally targeted by Stempel'southward Walter Cunz every bit a competitor to Ludwig & Mayer'southward Colonia pattern, which has not been digitised.[viii] [nine] Shaw besides suggests the fiddling-known 1948 pattern Romann Antiqua, as well every bit Stellar by Robert Hunter Middleton equally predecessors, and notes the existence of Pascal by José Mendoza y Almeida (1962) as a design with a like set up of influences.[two] [10] [11] [12] [13] Optima is yet quite restrained in stroke width variation; more brandish-oriented predecessors such as Britannic show far more differentiation in stroke width than Optima does.

Optima'south sloped version was originally an oblique or sloped roman, in which the letters do not accept on handwriting characteristics. For Optima nova (discussed beneath) Zapf decided to create a new true italic with a greater slant angle.

At the aforementioned time as the belatedly development of Optima, Zapf was working on a non-modulated sans for Linotype, to be named Magnus and intended to compete with Gill Sans. It has never been released.

Optima Greek (1973) [edit]

It is a Greek variant designed by Matthew Carter, based on sketches from Hermann Zapf.[fourteen] No digital versions take been produced.

Optima Classified (1976) [edit]

Information technology is a variant designed by Matthew Carter, based closely on Optima Medium. No digital versions have been produced.

Optima nova (2002) [edit]

A specimen paradigm of Optima Nova showing its italic, stylistic alternates and condensed weights

Optima nova is a redesign of the original font family, designed by Hermann Zapf and Linotype GmbH type director Akira Kobayashi.[fifteen] [16] The new family contains 7 font weights, calculation calorie-free, demi, and heavy font weights, but removing actress black weight. Medium weight is readjusted to between medium and assuming weights in the old family calibration. Glyph sets are expanded to include Adobe CE and Latin Extended characters, with calorie-free to bold weight fonts supporting proportional lining figures, old style figures, and small caps.

The initial and most common release of Optima, like many sans-serif fonts, has an oblique manner instead of an italic: the shapes are merely tilted to the right. In Optima nova, this is replaced past a true italic. (In interviews, Zapf has said that this was his original goal from the beginning, merely the need to release Optima apace forced him to settle for an oblique.)

Even in Roman fonts, letters such as Q, a, f are redesigned. The overall bounding boxes were widened in Optima nova.

Reviewing it, John Berry wrote that "its 'color' on the page comes much closer to that of the original metallic version than any of the before photograph/digital versions did" but that "ends of the strokes in the messages 'a', 'c', and 's' flare much more than dramatically than they ever did in the older Optima — and so much so that these messages almost look as though they have serifs...It's a subtle difference, but information technology'due south disturbing if y'all're used to the understated elegance of Optima's letterforms."[15]

Optima nova Condensed [edit]

It is a condensed variant which consists of lite to bold weights, but no italic fonts. The glyph prepare does not back up proportional lining figures, old style figures, or small caps.

Optima nova Titling [edit]

It is a titling capitals variant, which contains merely uppercase letters, with restyled letterform. The glyph ready is the same every bit Optima nova Condensed, only likewise includes extra ligatures. Berry writes in his review of the nova release: "information technology has softly curved joins and interior angles. Instead of the added crispness of item that you might expect of a face designed for display use, this one looks more sculptural."[fifteen]

In the tradition of hand lettering and lapidary inscription, the titling confront shares similarities with the work of Zapf'southward friend Herb Lubalin, peculiarly the exuberant ligatures (for which Lubalin's ITC Lubalin Graph and ITC Avant Garde are notable). Further influence of A.Thousand. Cassandre and Rudolf Koch, whose piece of work greatly inspired the young Zapf, tin can also exist seen in Optima.

Optima Pro Cyrillic (2010) [edit]

In April 2010, Linotype appear the release of Cyrillic version of the original Optima family, in OpenType Pro font formats. Released fonts include Optima Pro Cyrillic Roman, Oblique, Bold, Assuming Oblique.[17]

Derivatives [edit]

As with many commonly used fonts, knockoff designs and re-releases under different names have been released, some created by Zapf himself. These all tend to re-create the original version, rather than the Optima nova design which represents Zapf'due south terminal thoughts on the blueprint. In the Bitstream font drove, Zapf Humanist 601 is provided as an Optima clone. Other Optima clones include Optane from the WSI Fonts collection, Opulent by Rubicon Figurer Labs Inc., Ottawa from Corel, CG Omega and Eterna. Freely available implementations include URW Classico (available with URW Font packet from Ghostscript). Linux Biolinum is a libre font inspired by it. Zapf's Palatino Sans is a more breezy typeface in the same manner, with a design reminiscent of brushstrokes or calligraphy.

Kontour Type designed the Utile Brandish typeface, inspired from the Optima typeface.[xviii]

In a memoir written for Linotype, Zapf commented:

The proper name "Optima" was not my idea at all. It is for me too presumptuous and was the invention of the sales people at Stempel.

Notable usages [edit]

Optima is used for the Vietnam Veterans Memorial and was used by John McCain'southward 2008 presidential campaign.[19] Optima was used in the official logo and most publications associated with Expo 67 in Montreal.[xx]

Optima was chosen equally the font to be used for the names of those who lost their lives in the September xi attacks, carved into bronze parapets, at the National September 11 Memorial & Museum, which is named "Reflecting Absence".[21]

Opinions on the blueprint have been variable, partly considering of its all-encompassing use. Erik Spiekermann described it as "used on parking garages & hospitals beyond the Us. Tired & inappropriate. I don't blame the typeface but the designers."[22] [ self-published source ] He also commented "Optima is patronizing. It hasn't got the guts to be either a proper Sans or Serif, and then information technology keeps all its options open up and appeals to the heart...It suits everything and pleases nobody."[23]

Jonathan Hoefler described information technology as "signifying a very down-market notion of luxe...the font of choice for the hygiene aisle."[24]

Examples [edit]

The following list shows some examples that employ Optima font:

  • Endeavor - ITV'southward Inspector Morse offense prequel serial prepare in the 1960s Oxford, that is used in the opening credits simply.
  • British Airways - The British national airline's titles that is used in the Landor Livery from 1984 to 1997.
  • Qatar Airways - The Qatari national airline'due south titles that is used in the current livery since 2006.
  • Where's Wally
  • Marks and Spencer - Logo that is used from 2000 to 2007.
  • BBC One O'Clock News - Opening titles that uses Optima font in 1986.
  • Lindt
  • Hunters Law
  • Parker Pens
  • Amblin Entertainment
  • Aston Martin
  • Call of Duty: World at War

Notes [edit]

  1. ^ Haley, Allen. "Optima" (PDF). Monotype Imaging. Retrieved 9 Oct 2015.
  2. ^ a b Shaw, Paul. "Nearly More Alphabets review". Blue Pencil letter design . Retrieved 23 November 2015.
  3. ^ a b Stone, Sumner. "Hermann Zapf". Typographics Conference. Archived from the original on 28 September 2015. Retrieved 22 August 2015.
  4. ^ Siebert, Jürgen. "Fontshop - Hermann Zapf 1918-2015". Fontshop. Retrieved 22 August 2015.
  5. ^ Nikolaus Julius Weichselbaumer (14 December 2015). Der Typograph Hermann Zapf: Eine Werkbiographie. Walter de Gruyter GmbH & Co KG. pp. 173–190. ISBN978-iii-11-041505-6.
  6. ^ Standard], Hermann Zapf. [Transl. by Paul (1970). Well-nigh alphabets : some marginal notes on type blueprint ([Rev. ed.] ed.). Cambridge, Mass.: MIT Press. ISBN9780262240109.
  7. ^ a b c Lawson, Alexander (1990). Anatomy of a Typeface. David R. Godine. pp. 329–330. ISBN0879233338.
  8. ^ "Optima". Linotype. Retrieved 22 August 2015.
  9. ^ "Colonia type specimen". Flickr. Ludwig & Mayer. Retrieved 22 August 2015.
  10. ^ "Joachim Romann" (PDF). Klingspor Museum. Retrieved 23 Nov 2015.
  11. ^ Mendoza, José. "Pascal ND". Neufville. Retrieved 23 November 2015.
  12. ^ "Stellar". Fonts.com. Monotype. Retrieved 29 Baronial 2015.
  13. ^ Speice, Jim. "Stellar". MyFonts. Speice Graphics. Retrieved ix September 2015.
  14. ^ magazine TYPO.18 December 2005 issue Archived March 19, 2009, at the Wayback Machine
  15. ^ a b c Berry, John D. "Optima nova — A New Have on Timeless Confront". Creative Pro . Retrieved 15 June 2016.
  16. ^ "Optima nova". issuu. Linotype.
  17. ^ "International typography gets a Cyrillic heave".
  18. ^ "Game, set, match: Utile aces all your blazon needs". kontour.typenetwork.com . Retrieved 14 Apr 2020.
  19. ^ Tschorn, Adam (March 30, 2008). "The character issue". Los Angeles Times.
  20. ^ "Iconic Identities: Expo '67". Actually.
  21. ^ Tina Susman, Los Angeles Times (26 Baronial 2011). "Architect'southward vision takes shape in Sept. 11 memorial". Retrieved August 26, 2011.
  22. ^ Spiekermann, Erik. "Twitter". Twitter . Retrieved 23 November 2015.
  23. ^ Spiekermann & Hoefler; Bierut. "I Hate ITC Garamond (comments on article)". Design Observer . Retrieved 6 November 2014. {{cite spider web}}: CS1 maint: multiple names: authors listing (link)
  24. ^ Hoefler, Jonathan. "& Not-Fotogenic". Hoefler & Frere-Jones. Retrieved 23 November 2015.

References [edit]

  • Margaret Re, Johanna Drucker, Matthew Carter, James Mosley. Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Printing: 2003. ISBN 1-56898-427-8, ISBN 978-1-56898-427-8.
  • Blackwell, Lewis. 20th Century Type. Yale University Press: 2004. ISBN 0-300-10073-vi.
  • Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Blazon Blueprint and Techniques Through History. Black Dog & Leventhal: 1998. ISBN ane-57912-023-7.
  • Jaspert, Westward. Pincus, West. Turner Drupe and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983. ISBN 0-7137-1347-X.
  • Lawson, Alexander South., Anatomy of a Typeface. Godine: 1990. ISBN 978-0-87923-333-4.
  • Macmillan, Neil. An A–Z of Blazon Designers. Yale Academy Press: 2006. ISBN 0-300-11151-7.
  • Zapf, Hermann. Manuale Typographicum. The MIT Press: 19534, 1970. ISBN 0-262-24011-4.

External links [edit]

  • Typowiki: Optima
  • The story of Palatino and Optima from Hermann Zapf
  • Linotype: Optima from Hermann Zapf
  • Learn more about Optima nova from Hermann Zapf and Akira Kobayashi
  • The Story of Linotype's Optima
  • Alternatives to Optima - Stephen Coles

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