ptima

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ptima
The typeface that rose from the grave

Optima is a humanist sans-serif typeface designed by Herman Zapf between 1952 and 1955 for the D. Stempel AG Foundry, Frankfurt, Germany.

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Frankentype
1950
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By Erin Rice
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Hermann Zapf came across
a grave stone in Italy that
inspired him to create the
typeface Optima. Zapf was
one of the first and few
recognized type designers to
combine serif and sans-serif
features into one typeface.
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Optima
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The typeface that rose from the grave
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Table of Contents
Hermann Zapf Background ......................1
Optima History ...............................2
Optima: Sans-Serif and Serif Features . . . . . . . . . . . . . . . 3
Frankentype Dissection .........................5
Optima’s Features ............................. 8
Zapf’s Challenge with Technology ................ 11
The Solution ................................12
Works Cited ................................13
Colophon ..................................14
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1918
1934
1940
1947
hermann zapf
Born in Nuremberg, Germany
Born in Nuremberg, Germany
Hermann Zapf, was born in Nuremberg, Germany during a time
of turmoil due to war, famine and sickness. Not only did Zapf’s
father lose his job during Hitler’s rise to power, but also Zapf lost
two siblings due to the Spanish influenza.
Hermann Zapf, was born in Nuremberg, Germany during a time of turm
sickness. Not only did Zapf’s father lose his job during Hilter’s rise to pow
due to the Spanish influenza.
Born in Nuremberg, Germany
Born in Nuremberg, Germany
Hermann Zapf, was born in Nuremberg, Germany during a time of turmo
sickness. Not only did Zapf’s father lose his job during Hilter’s rise to pow
due to the Spanish influenza.
Apprentice at Karl Ulrich and Company
Hermann Zapf, was born in Nuremberg, Germany during a time of turm
sickness. Not only did Zapf’s father lose his job during Hilter’s rise to pow
Regardless of these hardships, Zapf continued to work hard to
due to the Spanish influenza.
support his family and became an apprentice at the Karl Ulrich
and Company in 1934. After this apprenticeship he worked with
Paul Koch in Frankfurt at the Stempel Type foundry. During this
apprentice period he learned at the Karl to work Ulrich with and hand Company press type in 1934. and After produced this apprentice
Koch lettering Frankfurt for musical at the notation. Stempel Type foundry. During this period he lear
Cartographer Apprentice at in Karl Germany Ulrich and military Company duri
Regardless of these hardships, Zapf continued to work hard to support hi
Apprentice at Karl Ulrich and Company
Regardless of these hardships, Zapf continued to work hard to support hi
press
His apprentice work
type
was
and at the interrupted
produced Karl Ulrich lettering
in 1940 and Company for
during
musical
WWII in notation. 1934. when After he was this sent apprentice to train
Training Koch Frankfurt revealed that the the Stempel artillery Type was foundry. not the best During suited this for period Zapf. he They lear
a press cartographer type and produced in the Germany lettering military for musical where notation. he drew secret maps of Sp
Artistic
Cartographer
His work was
director
in
interrupted
Germany
in 1940
at
military
during WWII
the Stempel
during
when
WWII
he was sent to trai
AG type
Cartographer Training revealed that in the artillery Germany was not the best military suited for Zapf. duri
They
a cartographer in the Germany military where he drew secret maps of S
Cartographer in Germany military duri
His work was interrupted in 1940 during WWII when he was sent
to train to be in the German military. After proving himself an
inadequate soldier during artillery training, he was transferred to
work He His returned work as a was cartographer from interrupted the war the in 1940 1947 Germany during and became military WWII the where when artistic he he was drew director sent to as train the
secret
He Training designed
maps revealed of
his
Spain.
first that typeface the artillery (Gilgengart) was not at the the best age suited of 20 for and Zapf. currently They
signs a He cartographer returned today including from the Palatino, war Germany 1947 ITC military and Zapf, became where Chancery the drew Italic artistic secret and director his maps persona as of the Sp
He designed his first typeface (Gilgengart) at the age of 20 and currently
signs today including Palatino, ITC Zapf, Chancery Italic and his persona
Artistic director at the Stempel AG type
Artistic director at the Stempel AG typefoundry
He returned from the war in 1947 and became the artistic director as the
He designed his first typeface (Gilgengart) at the age of 20 and currently
signs today including Palatino, ITC Zapf, Chancery Italic and his persona
He returned from the war in 1947 and became the artistic
director at the Stempel AG typefoundry. He designed his first
typeface (Gilgengart) at the age of 20 and currently has over 200
typeface designs today including Palatino, ITC Zapf, Chancery
Italic and his personal favorite, Optima.
1

1950
1952
1958
now
Optima History
Inspiration rose from the grave
In October 1950, Hermann Zapf, came across an
inscription in a tomb stone at the Basilica di Santa Croce while
researching type design in Florence, Italy. The inscription was
unique because it retained qualities of classic Roman lettering but
was a sans-serif. This inspired Zapf to create the typeface Optima.
Inspiration rose from the grave
Inspiration rose from the grave
In October 1950, Hermann Zapf, came across an inscription in a tomb s
Croce while researching type design in Florence, Italy. It was the unique
of In the October inscription, 1950, Hermann while still Zapf, retaining came qualities across an of classic inscription Roman in a lettering tomb s
create Croce while the typeface researching Optima. type design in Florence, Italy. It was the unique
of
Originally
the inscription,
sketched
while
on 1,000
still retaining
lire bank
qualities
notes, Optima
of classic
began
Roman
to take
lettering
shap
to Germany he consulted with a handful of type designers who were enth
In concept October of Optima. 1950, Hermann Zapf, came across an inscription in a tomb s
Originally Croce while sketched researching on 1,000 type design lire bank in notes, Florence, Optima Italy. began It was to the unique
of take the shape. inscription, When while he returned still retaining to Germany qualities he consulted of classic Roman a handful lettering
of create
Originally
type the designers typeface
sketched
who Optima.
on
were
1,000
enthralled
lire bank
with
notes,
the
Optima
concept
began
of Optima.
to take shap
to Zapf Germany originally he intended consulted for with Optima a handful to be of a type display designers typeface. who After were one enth o
concept sized the of uniqueness Optima. of Optima’s serishless yet elegant stroke contrasts, Z
Originally Optima as sketched a book typeface on 1,000 to lire replace bank the notes, serif Optima type in began books to help take shap the t
Inspiration rose from the grave
Optima create Frankentype the typeface Optima. began to come to life
Franktype in the real world
Optima Frankentype began to come to
Optima Frankentype began to come to
Optima Zapf to Germany originally finally
he
finally published intended consulted
published
for with Optima as
a handful
a book to be of a display typeface
designers
as a
typeface. who
book
After were
type
one enth o
sized concept the of uniqueness Optima. of Optima’s serishless yet elegant stroke contrasts, Z
Optima Zapf originally as a book intended typeface for to Optima replace to the be serif a display type typeface. in books to help the t
After Some one designers of his colleagues avoid Optima emphasized because its the hybrid uniqueness quality of as a cross betwe
Optima’s type face serif-less intimidated yet them. elegant Optima stroke gained contrasts. most With of its this recognition in mind, from n
Zapf that acknowledged decided to publish an elegant, Optima stately as a book quality typeface in it that to replace was distinctive the fro
Some serif typefaces. designers
in books Even avoid
to today help
Optima
the it’s used text
because
become by Yves its hybrid
more Saint readable. Laurent, quality as Estée a cross Lauder, betwe J
type It has face also intimidated been famously them. used Optima in John gained McCain’s most 2008 of its recognition Presidential from Camp n
that Some
Memorial acknowledged designers
in Washington
avoid an Optima elegant, D.C.
because stately quality its hybrid in it quality that was distinctive a cross betwe fro
serif type typefaces. intimidated Even today them. it’s Optima used by gained Yves Saint most of Laurent, its recognition Estée Lauder, from J n
It that has acknowledged also been famously an elegant, used in stately John quality McCain’s it 2008 that Presidential was distinctive Camp fro
Memorial serif Some typefaces. designers in Washington Even avoid today Optima D.C. it’s used because by Yves its hybrid Saint Laurent, quality as Estée a Lauder, J
It cross has between also been a famously serif and sans-serif used in John type McCain’s face intimidate 2008 Presidential them. Camp
Memorial Optima gained Washington most of its D.C. recognition from notable haut couture
houses that acknowledged an elegant, stately quality in it that
was distinctive from Helvetica and other sans serif typefaces.
Even today it’s used by Yves Saint Laurent, Estée Lauder, J.Jill and
Pandora Jewelry. It has also been famously used in John McCain’s
Optima finally published as a book type
Franktype in the real world
Franktype in the real world
Franktype in the real world
2008 Presidential Campaign and for the Vietnam Memorial in
Washington D.C.
2

optima: sans-serif
futura optima
O d
Capital glyphs are circular
and nearly geometrical
Large x-height, fairly wide body
O d
T
No serifs
T
Compare Optima to a traditional sans-serif typeface like Futura designed by Paul Renner in 1927
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and serif features
bodoni optima
b a I
Standard "a" has a double-story
Strong contrast between
form with half oval bowl
the thicks and thins
and slightly flared spur
b a
Slightly tapered
strokes at ends
I
Compare Optima to a serif typeface like Bodoni designed by Giambattista Bodoni in 1798.
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frankentype dissection
By combining serif and sans-serif features, Zapf created what he thought to be the “Optimal” typeface.
The elegant, subtle flare of the strokes is reminiscent to the strokes of calligraphy humanistic typeface while
it’s still categorized as a sans-serif.
Ascender Line
Cap Height
X-Height
‡ ‡‡
‡
Baseline
closed
counter
final
tittle
bowl
Descender Line
Descender
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crossbar
stem
ascender
eye
open
counter
spur
tail
6

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The bridge between sans-serif and serif type.

optima’s features
Top and bottom of
stems are slightly
sloped inward
In “M”, there are
pointed apexes.
Diagonals meet on
the baseline
Top of the “t” stem
cut at a slant with a
slightly flat point
Tail of “Q” tapers
to the bottom right
without crossing
the bowl
Ear of “g” juts off
straight to the right
with a slight flare
Top of the “t” stem
cut at a slant
Strong thinning
where curved
strokes meet stem
Double story “a” has
a slightly flared spur
Crossbar of “t” sits
slightly to the right
Extreme contrast and
flare on “f”
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OPTIMA BOLD
ALIC OP
LD
PTIM
PTIMA B
DIUM OPTIMA MEDIUM OPTIMA MEDIUM OPTIMA
LD OPTIMA BOLD
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OPTIMA REGULAR OPTIMA REGULAR OPTIMA REGULAR OPTIMA REGULAR OPTIMA REGULAR OPTIMA REGULAR OPTIMA REULAR OPTIMA
OPTIMA REULAR ITALIC OPTIMA REGULAR ITALIC OPTIMA REULAR ITALIC OPTIMA REGULAR ITALIC OPTIMA REULAR ITALIC OPTIMA
M OPTIMA MEDIUM OPTIMA MEDIUM OPTIMA MED
PTIMA BOLD OPTIMA BOLD OPTIMA BOLD O
D ITALIC OPTIMA BOLD ITALIC OPTIM
XTRA BOLD OPTIMA EXTRA BOL

a b c d e f g h i j k l m
n o p q r s t u v w x y
z a b c d e f g h i j k l m
n o p q r s t u v w x y z 1
2 3 4 5 6 7 8 9 0 ! @ # $
% ^ & * ` ~ = + / ? ( ) [ ] { }
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Zapf’s challenge
From hand to metal-set type design
During the 1950’s and 60’s, type began to be metal-set to make the printing process
quicker and easier. To convert his flawless sketches of Optima “Frankentype” to work with
machine-set metal type, Zapf has to adjust his original design to suit an unsophisticated
grid system to fit into font magazines. Font magazines only held individual letters of the
same width, so Zapf had to adjust the dimensions of his design for Optima to fit
predetermined character width values.
From Metal-set to digital design
After adjusting Optima “Frankentype” to suit the limitations of metal-set design, Zapf left
Optima to fend for himself in the real world. Amateur artists found Optima “Frankentype”
and took it upon themselves to adjust the metal-set design to digital design. During this
process the curvature of the stems’ bottoms were exaggerated creating a bell bottom look.
The curves and flares of the type were straightened out too much weakening its readability.
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the solution
Optima Nova released in 2002
Then, a full 50 years after his original
graveyard sketches, Zapf resurrected
Optima for the digital age. Working with
Akira Kobayashi, today a Monotype type
director, the two re-worked Optima to
update the design, improve character
spacing, finesse its italic form and add
condensed weights to the family, broadening
its appeal for designers working in a spaceconstrained
online format. Optima Nova
was released in 2002 and is widely used
today as a Web font thanks to its versatility.
Optima
Regular
Italic
Medium
Bold
Bold Italic
Extra Black
vs. Optima Nova
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Works Cited
Friedman, Mildred S. Graphic Design in America : A Visual Language History. Minneapolis, Minn. : Walker Art Center ; New York:
Abrams, 1989. Print.
Haley, Allan. “Optima Typeface Thrives in the Digital Era.” Optima Typeface Thrives in the Digital Era. N.p., 04 Apr. 2013. Web.
28 Oct. 2013. http://www.monotype.com/blog/optima-typeface-thrives-in-the-digital-era
Kelly, Jerry, and Hermann Zapf. About More Alphabets: The Types of Hermann Zapf. NewYork: Typhophiles, 2011. Print.
King, Emily. A Century of Movie Posters : From Silent to Art House. Hauppauge, NY: Barron’s, 2003. Print.
Lawson, Alexander S. “Optima and the Humanist San-serif Types.” Anatomy of a Typeface. N.p.: David R. Godine, n.d. 324-30.
Print.Shaw
“Optima.” Prepressure Optima Comments. N.p., n.d. Web. 28 Oct. 2013.
“Optima Typeface Information.” Optima Font Family Information. N.p., n.d. Web. 28 Oct. 2013.
http://www.fontco.com/font-facts/optima.php
Paul. “Optimal Optima Hermann Zapf Restores Flare to a Classic Typeface.” I.D. 51.3 : 88-. Print.
Skaggs, S. “The World of Alphabets by Hermann Zapf: A Kaleidoscope of Drawings and Letterforms.” CHOICE: Current Reviews
for Academic Libraries 40.6 : 971. Print.
Smith, Roberta. “Encountered by millions, yet virtually unknown.” New York Times 29 Dec. 2000: E43. Business Insights:
Essentials. Web. 28 Oct. 2013.
Zapf, H. “Q&A with Hermann Zapf.” GRAPHIS; Graphis.352 : 12-3. Print.
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Colophon
This type specimen book is one of a series
of 10 books designed under the direction of
instructor Anne H. Berry by the students of
VCD 04: Typography at the University of Notre
Dame during the fall semester of 2013.
This volume explores the use and origins of the
Optima typeface created by Hermann Zapf in
1950. This book has been researched, designed
and edited by Erin Rice
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