Linotype

Designed by Hermann Zapf

The source of the originals

Optima™ nova

Linotype Library Platinum Collection

The Optima nova story

Sketches of Optima™ were done first on a

1000 Lire bank note in 1950. Hermann

Zapf had no paper available to make

notes from inscriptions in Santa Croce in Florence,

so he used a bank note instead. In 1952 the first

drawings were finished after careful legibility

tests. The type was

cut by the famous

punchcutter August

Rosenberger at the

D. Stempel AG type-

foundry in Frankfurt

and was also produced

in matrices for the

Linotype typesetting machines. Unfortunately

no real italic was manufactured, only an oblique

version of the roman.

The basic idea of Optima was to develop a

typeface between a sans serif like the Futura and

a classical Roman like the Bodoni. To avoid the

monotony of the straight lines of an ordinary

sans serif the stems have slightly curved outlines,

typical of all Optima faces. This characteristic

lends the various Optima designs their elegance.

About fifty years after the first Optima sketches,

a complete redesign was made: Linotype Optima

nova. It was finally possible to produce digital

alphabets without technical limitations and

compromises.

Hermann Zapf and the Japanese type designer

Akira Kobayashi collaborated on the new designs.

They reworked the forms of the Optima and

added designs like small caps, old style figures,

and Optima nova Titling, which includes capital

letters with special and unusual letter combi-

nations and ligatures. Optima nova Titling is an

excellent typefaces for headlines, logos and

advertising purposes.

Erste Skizzen für die Optima™ entstanden

1950 in Florenz auf einem 1000 Lire Schein,

da Hermann Zapf kein Schreibpapier

zur Hand hatte, um Inschriften in Santa Croce

abzuzeichnen. 1952 waren nach sorgfältigen

Lesbarkeitsstudien die Reinzeichnungen fertig-

gestellt: Die Schrift wurde in der Schriftgießerei

D. Stempel AG in Frankfurt von dem berühmten

Stempelschneider August Rosenberger

geschnitten und ergänzt durch die Linotype

Setzmaschinenmatrizen. Leider fertigte man

keine richtige Kursiv zur Optima, lediglich

eine schräg gestellte Antiqua.

Die Idee für die Optima Antiqua war eine

Gebrauchsschrift zu entwickeln, zwischen einer

serifenlosen Schrift, etwa der Futura, und einer

klassischen Antiqua in der Art einer Bodoni.

Um die geraden Linien einer Grotesk zu ver-

meiden, sind die Grundstriche leicht gebogen,

das typische Kennzeichen aller Optima

Alphabete. Dies gibt den Buchstaben ihren

charakteristischen eleganten Ausdruck.

50 Jahre nach den ersten Skizzen erfuhr die

Schrift eine komplette Überarbeitung unter

der Bezeichnung Optima nova. Es war endlich

möglich digitale Schriften herzustellen ohne

technische Einschränkungen und Kompromisse.

Hermann Zapf überarbeitete zusammen mit dem

japanischen Schriftdesigner Akira Kobayashi

alle Optima Alphabete und ergänzte sie durch

neue Garnituren: mit Kapitälchen, Mediäval-

ziffern und der Optima nova Titling, einem

Versalalphabet mit ungewöhnlichen Buchstaben-

verbindungen und Ligaturen. Die Optima nova

Titling eignet sich hervorragend für Überschriften,

Logos und in der Werbung.

AaBbCcDdEeTwo columns set flush left with dropped initials2

The redesign of Optima nova Italic

Premières esquisses de l’Optima™ : elles ont

été tracées en 1950 sur un billet de 1000

lires car Hermann Zapf n’avait pas de papier

sous la main pour transcrire les inscriptions de

la basilique Santa Croce à Florence. Après des

tests de lisibilité minutieux, les premiers dessins

de l’Optima ont été terminés en 1952. August

Rosenberger, graveur renommé de la fonderie

D. Stempel AG à Francfort, a réalisé les caractè-

res, produits également pour les composeuses

Linotype.

Mais aucun véritable italique n’a alors été réalisé,

seulement une version inclinée du style romain.

Le concept initial de l’Optima était de trouver

un style entre une linéale comme le Futura et un

romain classique comme le Bodoni. Pour éviter

la monotonie des droites d’une linéale courante,

les contours des fûts ont été légèrement arron-

dis pour conserver cette caractéristique typique

de tous les alphabets Optima car c’est elle qui

leur confère cette note d’élégance.

Environ cinquante ans après les premières

esquisses, l’Optima a été intégralement revu

pour créer ainsi l’Optima nova. On a finalement

réussi à obtenir des alphabets numériques sans

restrictions et compromis techniques.

Hermann Zapf et le typographe japonais Akira

Kobayashi ont collaboré pour développer ce

nouveau style. Ils ont ainsi revu les formes des

différents alphabets Optima pour y ajouter égale-

ment de nouveaux éléments comme les petites

capitales, les chiffres elzéviriens et les majuscules

de titrages Optima nova Titling incluant les

capitales avec des combinaisons particulières

et inhabituelles de lettres et ligatures. L’Optima

nova Titling est une police de caractères

parfaitement appropriée pour les titres, logos

et publicités.

Optima nova Italic differs greatly from the old slanted roman of the original Optima. The new italic

forms of the e, f and g are especially notable.

Ein markanter Unterschied zur ursprünglichen Optima ist bei der Optima nova Italic zu erkennen, da sie erheblich von der schräg gestellten Antiqua

abweicht. Die neuen fließenden (kursiven) Formen beim e, f und g zeigen dies deutlich.

Une différence fondamentale avec l’ancien Optima: le nouvel Optima nova Italic s’écarte

considérablement de l’ancien Optima qui est seulement incliné. Les nouvelles formes

penchées (italique) sont très nettes dans le cas des e, f et g.

AaBbCcDdEeComparison of the original Optima with the new Optima nova

FfGgHhIiJjKk

OPTIMA = an original Linotype typeface, completely redesigned and updated Eine original Linotype Schriftfamilie, komplett neu gestaltet und aktualisiert

Une famille des caractères Linotype d’origine, entièrement revue et mise à jour

OPTIMA = the result of years of research and many tests of legibility Das Ergebnis aufwendiger Untersuchungen und vieler Lesbarkeitstests

Le fruit de nombreuses années d’études et de tests de lisibilité très minutieux

OPTIMA = fulfils today’s requirements for functional and versatile applications Erfüllt die heutigen Anforderungen an Funktionalität und Anwendungsvielfalt

Pour satisfaire aux critères actuels imposés aux fonctions et aux applications

OPTIMA = the welcome answer to the monotony of sans serif types in text pages Die willkommene Antwort auf die Monotonie der serifenlosen Textschriften

La réponse désirer vivement à la monotonie des linéales pour les textes

OPTIMA = a typeface for advertising, art books, scientific publications, etc. Eine Schrift für Anzeigen, Kunstbücher, wissenschaftliche Publikationen, usw.

Une police pour les publicités, les livres d’art, les publications scientifiques, etc.

OPTIMA = an all-purpose type family with a fresh, stimulating appearance Eine universelle Schriftfamilie mit frischer und anregender Erscheinung Une famille universelle avec une impression de fraicheur et de vivacité

OPTIMA = although copied and imitated, no other version could match the original Obwohl oft nachgemacht und kopiert, erreicht keine Version das Original

Quoique souvent copié, aucune autre version ne peut se comparer à l’original

OPTIMA = simple, elegant, legible – a classic design with a contemporary look Einfach, elegant, lesbar – ein klassisches Design mit zeitgenössischem Aussehen

Simplicité, élégance, lisibilité, esthétique classique avec caractère contemporain

OPTIMA = proven worldwide over 50 years in hot metal, photocomp, and digital Weltweit über 50 Jahre bewährt im Blei-, Fotosatz und digitalen Anwendungen

Eprouvé dans le monde entier depuis plus de 50 ans dans la composition

Advantages of the Optima type family:

Characteristics and descriptions of the Optima designs. Set flush right

FfGgHhIiJjKk

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Light

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 12567890 & 1234567890Optima nova Regular

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Medium

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Demi

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Bold

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz€ 1234567890Optima nova Heavy

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz€ 1234567890Optima nova Black

The Optima nova type family

Seven different upright weights of Optima nova

The first five weights of Optima nova come complete with small caps and old style figures. They are designed with ascenders and descenders to be used for setting text because they har- monize well with the lowercases.

The small caps fonts contain lining

figures.

5

The newly designed true italics of Optima nova

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Light Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Medium Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Demi Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz abcdef€ 1234567890 & 1234567890Optima nova Bold Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz€ 1234567890Optima nova Heavy Italic

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz€ 1234567890Optima nova Black Italic

LlMmNnOoPpSeven different italics of Optima nova6

The first five weights of Optima nova Italic come complete with small caps and old style figures. They are designed with ascenders and descenders to be used for setting text because they har- monize well with the lowercases.

The small caps fonts contain lining

figures.

The Optima nova Condensed

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz € 1234567890Optima nova Light Condensed

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz € 1234567890Optima nova Condensed

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz € 1234567890Optima nova Medium Condensed

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz € 1234567890Optima nova Demi Condensed

ABCDEFGHIJKLMNOPQRSTUVWXYZabcdefghijklmnopqrstuvwxyz € 1234567890Optima nova Bold Condensed

abcdefghijklmnopqrstuvwxyzABCDEFGHIJKLMNOPQRSTUVWXYZ€$¢£ƒ¥0123456789°&#½¼¾¹²³%‰@!?¿¡†‡*/(|)[/]\ªº®©™»›‹«.,:;·•"'“”‘’,„…_-–—¶æœøðłþßÆŒÐŁÞfiflIJij +­­­−± =≠≈∞<>≤≥¬µΔΩ∂∆∏∑√∫◊ℓáâàäãåāăąçćĉċčďéêèëēĕėęěĝğġģĥħíîìïĩīįıĵȷñńņňʼnóôòöõøōŏőŕŗřšśŝşšţťŧúûùüũūŭůűųŵÿýŷžźżž ÁÂÀÄÃÅĀĂĄÇĆĈĊČĎÉÊÈËĒĔĖĘĚĜĞĠĢĤĦÍÎÌÏĨĪİĴĶĹĽĿÑŃŅŇÓÔÒÖÕØŌŎŐŔŖŘŠŚŜŞŠȘŢŤŦÚÛÙÜŨŪŴŸÝŽŹŻŽ `´ ˆ ˜ ¯ ˘ ˙ ¨ ˚ ˝ ˇ ˛ ¸

LlMmNnOoPpThe five different weights of the newly designed Optima nova Condensed 7

The Optima nova Condensed alphabets are welcomed new additions to the Optima type family, they are useful for headlines and many applications in advertising.

Die Optima nova Condensed Alphabete sind eine willkommene Ergänzung der Optima Schriftfamilie, sehr ge- eignet für Überschriften und viele Anwendungen in der Werbung.

Les alphabets Optima nova Condensed com- plétant avantageusement la famille Optima sont particulièrement ap- propriés pour les titres et les nombreuses applications dans le secteur publicitaire.

The five weights of Optima nova Condensed have only lining figures, no old style figures or small caps.

QqRrSsTtUu

Examples of text emphasis with Optima nova

Some recommendations and hints for good typography using initials

and Small Caps to present more attractive, effective flyers, newsletters,

brochures, etc.:

This text begins with a two-line dropped initial to capture

the reader’s attention. Initials emphasize the opening of a text or chapter.

They can run over two or three lines of a text. The remaining letters of

the first word can be set in CAPITALS or Small Caps to support the large

initial. To avoid difficulties with dropped initials, they could also stand as

raised initials on the base line of the first line of text.

Note that all the

paragraphs of this text are arranged with dropped beginning lines. This is

one technique that departs from the ordinary left indentation which

usually begins a paragraph, an idea which is perhaps especially welcome

in the advertising branch.

Emphasizing the names of products, of people,

etc., can be done with Small Caps. They can be applied with or without the

capitals, in a heavier weight, or in italics. Optima nova offers 5 weights

of Small Caps: Light, Regular, Medium, Demi and Bold. For increased

emphasis on important words, use ALL CAPITAL letters in the same size

as the text, or use one of the heavier or italic weights of Optima nova.

If this is still not powerful enough, the words can be printed in a larger

size in alignment with the text lines or as demonstrated here OPTIMA NOVA set in the middle of the text lines.

Using Optima nova Small Caps8

QqRrSsTtUu QqRrSsTtUu

Helpful proposals for good typography

LEGIBILITY is the primary consideration and the most important part of any

printed communication. Additional line spacing for instance or the selection of a larger

size helps information to be read more easily and quickly. Another possibility are free

arrangements of text lines as demonstrated on this page done in another typeface

or in color. A Choose oldstyle figures within a text instead of lining figures and they

should be used for telephone and cell phone numbers 7 076-5287 and for telefax

numbers E076-5289. Here they are combined with the new ›Zapf Essentials‹,

a series of digital dingbats and ornaments with 72 different designs, available from

Linotype Library. A As an additional possibility shown here, paragraphs can be divided

with a bullet, a special star, or one of the many Zapf Essentials ornaments. f

Creative typography is the key to text composition. This is especially true today,

given the enormous capability and range of typefaces at our disposal and the digital

possibilities which can stimulate the imagination. Many ideas are just waiting to

be executed with Optima nova.

Optima nova Regular and Bold Italic together with Zapf Essentials

An experienced eye is necessary for the free arrangement of lines

in a short message or to emphasize an important note.

Balance the lines carefully in varying short and longer lines

and break lines within sentences logically and conveniently

to reflect the dynamic rhythm of the words.

U

9

RIT

BMV

Optima nova Small Caps and Titling combined with Zapfino

Rochester Institute of TechnologySchool of Print MediaCollege of Imaging Arts and SciencesFrank E. Gannett Building69 Lomb Memorial DriveRochester, New York 14623-5603Tel. 585-475-2728 Fax 585-475-7029

B e a t r i c e M . V o l t a n i - T o r z a n oC a m p o S . M a r i a D e l G i g l i o 2 1 6 2 · 3 0 1 2 4 V e n e z i a

T e l ( 0 4 1 ) 7 0 5 . 1 6 6

COMPUTER MUSEUM BOSTON 00 Congress Street · Boston, Massachusetts 02210 · Tel. (817) 26-2800

Charles DerrieyImprimerie76, rue Saint JacquesParis · Tel. 713.652

Samples of stationery and business cards

August Rosenberger

Frankfurt am Main Wittelsbacher Allee 156Telefon: 45 37 69

10

Three variations of title pages in different designs

Z- P R E S S E F R A N K F U RT NEW YORK MCMLXVIII

Optima used in publishing

Hermann Zapf MANUALE TYPOGRAPHICUM

100 typographische Gestaltungen mit Aussagen über die Schrift, über Typographie und Druckkunst, aus Vergangenheit und Gegenwart, in achtzehn verschiedenen Sprachen

100 typographical arrangements with considerations about types, typography and the art of printing selected from past and present, printed in eighteen languages.

Title page in two languages, justified lines

Title page arranged with content

Französisches Theater 6 Theaterstücke

jean giraudoux Seite 5Kein Krieg in Troja

paul claudel 89Verkündigung

jean-paul sartre 203Bei geschlossenen Türen

jean anouilh 249Jeanne oder die Lerche

albert camus 349Die Gerechten

eugène ionesco 409Der neue Mieter

Mit einem Nachwort von S. Melchinger

Büchergilde Gutenberg Frankfurt/Main

BOOKS ABOUT BOOKSAn international Exhibition

on the Occasion of the

International Book Year 1972

Proclaimed by UNESCO

Frankfurt am Main

Federal Republic of Germany

Frankfurt Book Fair

Kindlers Malerei Lexikon. Kindler Verlag, Zürich

Exhibition catalog. Title page flushed left in Optima bold.Logo design by Michel Olyff, Brussels

11

Optima for indoor and outdoor posters

Examples of posters in extremely reduced sizes

D. Stempel AG, FrankfurtText: Rudolf Schmidt-Mannheim, Translation by Paul StandardIllustration: Erwin Poell, Heidelberg (1960)

Champion International Corporation, Hamilton, Michigan

University poster. Champion Papers

Poster design: Jerry Kelly, New York

The Fine Art of Letters

The Work of Hermann Zapf at The Grolier Club

1 December 2000 – 10 February 2001 7 East 60th Street · New York City

Once upon a time there was an Art Director

With blood and sweat,day and night, he labored

to conceive a new idea.And behold, he found

he had created a blue-blooded stallion, with flashing eyes,

proudly-arched neck,powerful legs and a flowing tail.

This was such a perfect animal,in short, that not even

the ancient gods could havedone better.

There was more talk and the stallionwound up with a giraffe’s neck.

Finally the boss remarked:»He isn’t fancy enough.«

They agreed, and gave the animala peacock’s tail.

And then everybody wondered why the idea didn’t pull

Someone else piped up: »I think his range of vision

is too limited.«

The sales manager declared:»He trots too lightly.«

There was a lot of talkand the stallion

was given the feetof an elephant.

A conference was then called to inspect the masterpiece.

ImaginationScholarship

Program

Champion Papers

Consider the power of paperused with imagination

and you could be a winner.

12

A typeface for annual reports, announcements, magazines, etc.Optima and Palatino are used worldwide on postage stamps

Optima for business documents and graphic design

The Franklin SocietyNewsletter IV / 2002

Zapf Essentials Ornaments(the ornament will change with each issue)

Design: Heinz Schillinger

Optima nova Titling

Photo: Anngret Simms, Dublin

JAMES JOYCE1882–1941

LIVED IN THIS HOUSE

FROM THE AGE OF 2 TO 5 YEARS

AND WROTE HIS FIRST WORDS HERE

DUBLIN TOURISM

1

Examples of Optima in large outdoor lettering

Optima three-dimensional

Vietnam Veterans Memorial, Washington, DCPhoto: Ann Hawkins, Washington, DC

Photo: Patrick Leung, Hong Kong

Wetzlar. Photo: Franz Pahnem

San Francisco Public LibraryPhoto: Susie Taylor, San Francisco

Photo: Ryuichi Tateno, Saitama/Japan

MannheimPhoto: Kurt Vogler, Heidelberg

1

Poster in the lobby of the United Nations building in New York Optima combined with Palatino Italic

Hixon Design Consultants, New York, UN photo 188956, E. Schneider

Optima used for signs and corpoate designs

Florence/Italy. Photo: Kurt Vogler, Heidelberg

Corporate design in Optima

Nancy/FrancePhoto: Kurt Vogler, Heidelberg

National Gallery of Art, Washington, DCPhoto: Kathleen Buckalew

15

VvWvXxYyZzThe 8 letters of Optima nova Titling with ligatures and combinations

Optima nova Titling: the addition of 8 new letters

Optima nova Titling with all special characters

The complete font includes accented letters, punctuations, etc.

ABCDEFGHIJKLMNOPQRSTUVWXYZ

•0123456789/&aachcoefthe

hr ka la li ll me ne nnooooq quraresast t te th ti tt u Ve Æää Œ ö ö Ø ü ü ü

€$¢£¥

16

VvWvXxYyZzOptima nova Light with dropped initials and Optima nova Titling

How to use Optima nova Titling

Sculpture executed in aluminium

thE

NEW

OPti

MA

NO

VA ti

TliN

G

Specially designed as a display face to accompany the Optima nova weights, the detail of the

rounded corners can be seen at larger point sizes. It is an excellent choice for posters and

magazine headlines.

Besonders für den Einsatz als Display Schrift passt sie zu den anderen Optima nova Schnitten.

Die abgerundeten Ecken sind in großen Graden sichtbar. Sie ist hervorragend geeignet für

Plakate und Überschriften in Zeitschriften.

Notamment pour les présentoirs, elle harmonise parfaitement avec les autres polices Optima

nova. Les coins arrondis sont visibles dans les grands corps. Parfaitement appropriée pour les

panneaux publicitaires et les titres dans les revues.

17

1234567890List of glyphs in the Optima nova OpenType Platinum fonts

¶ABCDEFGHIJKLMNOPQRSTUVWXYZ & ÆŒIJ*

@abcdefghijklmnopqrstuvwxyzæœß fi fl ij

0123456789 012567890123456789… 0123456789€$¢£¥ ¤.,:;”„“’»«›‹?!¿¡#†‡§'"

abcdefghijklmnopqrstuvwxyz&(0123456789) €$¢£ƒ¥ © ąăčđęłřşű H•H·H-H−H—H h-h–h—h†h‡h

[(%‰¼½¾)]/|\¦ ∂µπ∆Ω∑√+−±·×÷¬ = ≠ ≈ ~<>≤≥∞∫∏ ©® ™

ąăčđęłřşű ąăčđęłřşű

Proportional lining figures

Proportional old style figures

Tabular lining figures

Tabular old style figures

Small Caps

All OpenType fonts have accented letters for Western and Eastern European languages

Sample character set showing

18

1234567890Diagram of the weight progression in the Optima nova type family 19

The Optima nova project 20 typefaces

EQ chli

Light

Regular

Medium

Demi

Bold

Heavy

Black

Titling

EQ afgEQ afg eQ afg 238 EQ afg eQ afg 238

EQ afg EQ afg

EQ afg EQ afg

Upr

ight

Smal

l Cap

s

Con

dens

ed

Old

Sty

le F

igur

es

Italic

Italic

Sm

all C

aps

Italic

Old

Sty

le F

igur

es

EQ afgEQ afg eq afg 238 EQ afg eQ afg 238

EQ afgEQ afg eQ afg 238 EQ afg eQ afg 238

EQ afgEQ afg eQ afg 238 EQ afg eQ afg 238

EQ afg eQ afg 238 EQ afg eQ afg 238 EQ afg

© 200 - 2006 Linotype GmbH.We reserve the right of errors and changes.

Linotype, Linotype Library and Optima are trademarks of Linotype GmbH, and may be registered in certain jurisdictions.

Linotype GmbHDu-Pont-Straße 16152 Bad HomburgGermany

A +9 (0) 6172 8-18

d +9 (0) 6172 8-29info@linotype.com

O.linotype.com

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