optima nova
DESCRIPTION
Brochure about Optima novaTRANSCRIPT
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.
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