Linotype Library Platinum Collection
Linotype
Designed by Hermann Zapf
Optima™ nova The source of the originals
The Optima nova story
S
ketches 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,
E
rste 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
so he used a bank note instead. In 1952 the first
abzuzeichnen. 1952 waren nach sorgfältigen
drawings were finished after careful legibility
Lesbarkeitsstudien die Reinzeichnungen fertig-
tests. The type was
gestellt: Die Schrift wurde in der Schriftgießerei
cut by the famous
D. Stempel AG in Frankfurt von dem berühmten
punchcutter August
Stempelschneider August Rosenberger
Rosenberger at the
geschnitten und ergänzt durch die Linotype
D. Stempel AG type-
Setzmaschinenmatrizen. Leider fertigte man
foundry in Frankfurt
keine richtige Kursiv zur Optima, lediglich
and was also produced
eine schräg gestellte Antiqua.
in matrices for the
Die Idee für die Optima Antiqua war eine
Linotype typesetting machines. Unfortunately
Gebrauchsschrift zu entwickeln, zwischen einer
no real italic was manufactured, only an oblique
serifenlosen Schrift, etwa der Futura, und einer
version of the roman.
klassischen Antiqua in der Art einer Bodoni.
The basic idea of Optima was to develop a
Um die geraden Linien einer Grotesk zu ver-
typeface between a sans serif like the Futura and
meiden, sind die Grundstriche leicht gebogen,
a classical Roman like the Bodoni. To avoid the
das typische Kennzeichen aller Optima
monotony of the straight lines of an ordinary
Alphabete. Dies gibt den Buchstaben ihren
sans serif the stems have slightly curved outlines,
charakteristischen eleganten Ausdruck.
typical of all Optima faces. This characteristic
50 Jahre nach den ersten Skizzen erfuhr die
lends the various Optima designs their elegance.
Schrift eine komplette Überarbeitung unter
About fifty years after the first Optima sketches,
der Bezeichnung Optima nova. Es war endlich
a complete redesign was made: Linotype Optima
möglich digitale Schriften herzustellen ohne
nova. It was finally possible to produce digital
technische Einschränkungen und Kompromisse.
alphabets without technical limitations and
Hermann Zapf überarbeitete zusammen mit dem
compromises.
japanischen Schriftdesigner Akira Kobayashi
Hermann Zapf and the Japanese type designer
alle Optima Alphabete und ergänzte sie durch
Akira Kobayashi collaborated on the new designs.
neue Garnituren: mit Kapitälchen, Mediäval-
They reworked the forms of the Optima and
ziffern und der Optima nova Titling, einem
added designs like small caps, old style figures,
Versalalphabet mit ungewöhnlichen Buchstaben-
and Optima nova Titling, which includes capital
verbindungen und Ligaturen. Die Optima nova
letters with special and unusual letter combi-
Titling eignet sich hervorragend für Überschriften,
nations and ligatures. Optima nova Titling is an
Logos und in der Werbung.
excellent typefaces for headlines, logos and advertising purposes.
AaBbCcDdEe
Two columns set flush left with dropped initials
The redesign of Optima nova Italic
P
remières esquisses de l’Optima™ : elles ont été tracées en 1950 sur un billet de 1000
la basilique Santa Croce à Florence. Après des tests de lisibilité minutieux, les premiers dessins
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.
de l’Optima ont été terminés en 1952. August Rosenberger, graveur renommé de la fonderie 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
/LD lGURE WITH DUCK BEAK
D. Stempel AG à Francfort, a réalisé les caractè-
la monotonie des droites d’une linéale courante, les contours des fûts ont été légèrement arrondis pour conserver cette caractéristique typique de tous les alphabets Optima car c’est elle qui leur confère cette note d’élégance.
/PTIMAõNOVAõ)TALICõ õ É
Environ cinquante ans après les premières
/PTIMA NOVA WITH 0INOCCHIO NOSE
lires car Hermann Zapf n’avait pas de papier
sous la main pour transcrire les inscriptions de
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
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.
différents alphabets Optima pour y ajouter également 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
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.
parfaitement appropriée pour les titres, logos et publicités.
AaBbCcDdEe Comparison of the original Optima with the new Optima nova
Advantages of the Optima type family: 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
FfGgHhIiJjKk
Characteristics and descriptions of the Optima designs. Set flush right
The Optima nova type family ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890 Optima nova Light
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890 Optima nova Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890
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 harmonize well with the lowercases. The small caps fonts contain lining figures.
Optima nova Medium
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890 Optima nova Demi
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890 Optima nova Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890 Optima nova Heavy
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890 Optima nova Black
FfGgHhIiJjKk Seven different upright weights of Optima nova
The newly designed true italics of Optima nova ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890 Optima nova Light Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890 Optima nova Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890
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 harmonize well with the lowercases. The small caps fonts contain lining figures.
Optima nova Medium Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890 Optima nova Demi Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz abcdef € 1234567890 & 1234567890 Optima nova Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890 Optima nova Heavy Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890 Optima nova Black Italic
LlMmNnOoPp
Seven different italics of Optima nova
The Optima nova Condensed ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890 Optima nova Light Condensed
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890 Optima nova Condensed
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890 Optima nova Medium Condensed
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890 Optima nova Demi Condensed
ABCDEFGHIJKLMNOPQRSTUVWXYZ abcdefghijklmnopqrstuvwxyz € 1234567890
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 geeignet für Überschriften und viele Anwendungen in der Werbung. Les alphabets Optima nova Condensed complétant avantageusement la famille Optima sont particulièrement appropriés pour les titres et les nombreuses applications dans le secteur publicitaire.
Optima nova Bold Condensed
abcdefghijklmnopqrstuvwxyz ABCDEFGHIJKLMNOPQRSTUVWXYZ
The five weights of Optima nova Condensed have only lining figures, no old style figures or small caps.
€$¢£ƒ¥0123456789°&#½¼¾¹²³%‰ @!?¿¡†‡*/(|)[/]{\}ªº®©™»›‹«.,:;·•"'“”‘’,„…_-–— ¶æœøðłþßÆŒÐŁÞfiflIJij +−± =≠≈∞<>≤≥¬µΔΩ∂∆∏∑√∫◊ℓ℮ áâàäãåāăąçćĉċčďéêèëēĕėęěĝğġģĥħíîìïĩīįıĵȷñńņňʼnóôòöõøōŏőŕŗř šśŝşšţťŧúûùüũūŭůűųŵÿýŷžźżž ÁÂÀÄÃÅĀĂĄÇĆĈĊČĎÉÊÈËĒĔĖĘĚĜĞ ĠĢĤĦÍÎÌÏĨĪİĴĶĹĽĿÑŃŅŇÓÔÒÖÕØŌŎŐŔŖŘŠŚŜŞŠȘŢŤŦÚÛÙÜŨŪŴ ŸÝŽŹŻŽ `´ ˆ ˜ ¯ ˘ ˙ ¨ ˚ ˝ ˇ ˛ ¸
LlMmNnOoPp The five different weights of the newly designed Optima nova Condensed
Examples of text emphasis with Optima nova
S
ome 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.
QqRrSsTtUu
Using Optima nova Small Caps
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 numbers
E
7
076-5287 and for telefax
076-5289. Here they are combined with the new ›Zapf Essentials‹,
a series of digital dingbats and ornaments with 372 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
U 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.
C
reative 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.
✍
QqRrSsTtUu Optima nova Regular and Bold Italic together with Zapf Essentials
Samples of stationery and business cards
RIT
Rochester Institute of Technology School of Print Media College of Imaging Arts and Sciences Frank E. Gannett Building 69 Lomb Memorial Drive Rochester, New York 14623-5603 Tel. 585-475-2728 Fax 585-475-7029
BMV
B e a t r i c e M . Vo l t a n i -To r z a n o Campo S. Maria Del Giglio 2162·30124 Venezia Te l ( 0 4 1 ) 7 0 5 . 1 6 6
COMPUTER MUSEUM BOSTON 300 Congress Street · Boston, Massachusetts 02210 · Tel. (817) 426-2800
Charles Derriey Imprimerie 76, rue Saint Jacques Paris · Tel. 713.652
August Rosenberger
Frankfurt am Main Wittelsbacher Allee 156 Telefon: 45 37 69
10
Optima nova Small Caps and Titling combined with Zapfino
Optima used in publishing Title page in two languages, justified lines
MANUALE TYPOGRAPHICUM
Title page arranged with content
Hermann Zapf
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.
Französisches Theater 6
Theaterstücke
jean giraudoux Kein Krieg in Troja
paul claudel Verkündigung
89
jean-paul sartre
203
jean anouilh
249
albert camus
349
eugène ionesco
409
Bei geschlossenen Türen Jeanne oder die Lerche Die Gerechten
Der neue Mieter
Z- P R E S S E F R A N K F U R T NEW YORK MCMLXVIII
Seite 5
Mit einem Nachwort von S. Melchinger Büchergilde Gutenberg Frankfurt/Main
BOOKS ABOUT BOOKS An international Exhibition on the Occasion of the International Book Year 1972 Proclaimed by UNESCO
Kindlers Malerei Lexikon. Kindler Verlag, Zürich Frankfurt am Main
Exhibition catalog. Title page flushed left in Optima bold. Logo design by Michel Olyff, Brussels
Federal Republic of Germany Frankfurt Book Fair
Three variations of title pages in different designs
11
Optima for indoor and outdoor posters 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.
D. Stempel AG, Frankfurt Text: Rudolf Schmidt-Mannheim, Translation by Paul Standard Illustration: Erwin Poell, Heidelberg (1960)
The Fine Art of Letters
This was such a perfect animal, in short, that not even the ancient gods could have done better.
A conference was then called to inspect the masterpiece. The sales manager declared: »He trots too lightly.«
There was a lot of talk and the stallion was given the feet of an elephant.
Someone else piped up:
»I think his range of vision is too limited.« There was more talk and the stallion wound up with a giraffe’s neck. Finally the boss remarked: »He isn’t fancy enough.« They agreed, and gave the animal a peacock’s tail.
And then everybody wondered why the idea didn’t pull
The Work of Hermann Zapf at The Grolier Club 13 December 2000 – 10 February 2001 47 East 60th Street · New York City
Champion Papers
Imagination Scholarship Program
Poster design: Jerry Kelly, New York
Consider the power of paper used with imagination and you could be a winner.
University poster. Champion Papers
12
Champion International Corporation, Hamilton, Michigan
Examples of posters in extremely reduced sizes
Optima for business documents and graphic design
The Franklin Society Newsletter IV / 2002
D
UB
LIN TOURIS M
JAMES JOYCE 1882â&#x20AC;&#x201C;1941 LIVED IN THIS HOUSE
Zapf Essentials Ornaments (the ornament will change with each issue)
FROM THE AGE OF 2 TO 5 YEARS
Optima nova Titling
AND WROTE HIS FIRST WORDS HERE
Design: Heinz Schillinger
Photo: Anngret Simms, Dublin
A typeface for annual reports, announcements, magazines, etc. Optima and Palatino are used worldwide on postage stamps
13
Optima three-dimensional Vietnam Veterans Memorial, Washington, DC Photo: Ann Hawkins, Washington, DC Photo: Patrick Leung, Hong Kong
Photo: Ryuichi Tateno, Saitama/Japan
Wetzlar. Photo: Franz Pahnem
San Francisco Public Library Photo: Susie Taylor, San Francisco Mannheim Photo: Kurt Vogler, Heidelberg
14
Examples of Optima in large outdoor lettering
Optima used for signs and corpoate designs Florence/Italy. Photo: Kurt Vogler, Heidelberg Corporate design in Optima
Nancy/France Photo: Kurt Vogler, Heidelberg
National Gallery of Art, Washington, DC Photo: Kathleen Buckalew
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
15
Optima nova Titling: the addition of 84 new letters Optima nova Titling with all special characters
ABCDEFGHIJKLM NOPQRSTUVWXYZ •0123456789/ &aachcoefthe hr ka la li ll me ne nn oo ooq qu raresa st t te th ti tt u Ve Æ ää Œ ö ö Ø ü ü ü €$¢£¥ The complete font includes accented letters, punctuations, etc.
VvWvXxYyZz 16
The 84 letters of Optima nova Titling with ligatures and combinations
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.
Sculpture executed in aluminium
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.
thE NEW OPtiMA NOVA tiTliNG
How to use Optima nova Titling
VvWvXxYyZz Optima nova Light with dropped initials and Optima nova Titling
17
Sample character set showing
¶ABCDEFGHIJKLMNOPQRST UVWXYZ & ÆŒIJ* @abcdefghijklmnopqrstuvwxyz æœß fi fl ij 0123456789 0123456789 0123456789… 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
Tabular lining figures
Proportional old style figures
Tabular old style figures
Small Caps
All OpenType fonts have accented letters for Western and Eastern European languages
1234567890 18
List of glyphs in the Optima nova OpenType Platinum fonts
Condensed
Italic Old Style Figures
Italic Small Caps
Italic
Old Style Figures
Upright
Small Caps
The Optima nova project 20 typefaces
Light
EQ afg EQ afg 238
EQ afg EQ afg 238
EQ afg
Regular
EQ afg EQ afg 238
EQ afg EQ afg 238
EQ afg
Medium
EQ afg EQ afg 238
EQ afg EQ afg 238
EQ afg
Demi
EQ afg EQ afg 238
EQ afg EQ afg 238
EQ afg
Bold
EQ afg EQ afg 238
EQ afg EQ afg 238
EQ afg
Heavy
EQ afg
EQ afg
Black
EQ afg
EQ afg
Titling
EQ chli
1234567890 Diagram of the weight progression in the Optima nova type family
19
ON-BR607DEF1.0MP1
Linotype GmbH Du-Pont-StraĂ&#x;e 1 61352 Bad Homburg Germany
A +49 (0) 6172 484-418
d +49 (0) 6172 484-429 info@linotype.com
O.linotype.com
Š 2003 - 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.
Design: Hermann Zapf
acde