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Optima nova free download7/3/2023 Medium weight is readjusted to between medium and bold weights in the old family scale. The new family contains seven font weights, adding light, demi, and heavy font weights, but removing extra black weight. "Optima nova" is a redesign of the original font family, designed by Hermann Zapf and Linotype GmbH type director Akira Kobayashi. No digital versions have been produced.Ī specimen image of Optima Nova showing its italic, stylistic alternates and condensed weights No digital versions have been produced.Ī variant designed by Matthew Carter, based closely on Optima Medium. It has never been released.Ī Greek variant designed by Matthew Carter, based on sketches from Hermann Zapf. For Optima nova (discussed below) Zapf decided to create a new true italic with a greater slant angle.ĭuring late development of Optima, Zapf also began working on a non-modulated sans for Linotype, to be named Magnus and intended to compete with Gill Sans. Optima's sloped version was originally an oblique or sloped roman, in which the letters do not take on handwriting characteristics. Optima is however quite restrained in stroke width variation more display-oriented predecessors such as Britannic show far more differentiation in stroke width than Optima does. Shaw also suggests the little-known 1948 design Romann Antiqua, as well as Stellar by Robert Hunter Middleton as predecessors, and notes the existence of Pascal by José Mendoza y Almeida (1962) as a design with a similar set of influences. Optima was originally targeted by Stempel's Walter Cunz as a competitor to Ludwig & Mayer's Colonia design, which has not been digitised. The design style has been intermittently favored since the late nineteenth century Optima is one of the most lasting examples of the genre. Optima is an example of a modulated-stroke sans-serif, a design type where the strokes are variable in width. Optima's design follows humanist lines its capitals (like those of Palatino, Hans Eduard Meier's Syntax and Carol Twombly's Trajan) originate from the classic Roman monumental capital model, reflecting a reverence for Roman capitals as an ideal form. Zapf wrote later in his life of his preference for Optima over all of his other typefaces, but he also mentioned “a father should not have a favorite among his daughters.” Structure It is for me too presumptuous and was the invention of the sales people at Stempel. The name "Optima" was not my idea at all. In a memoir written for Linotype, Zapf commented: Zapf himself wanted to name the new type face New Roman, but the marketing staff insisted that it be named Optima. It was released to the public at an exhibition in Düsseldorf the same year. Optima was first manufactured as a foundry version in 1958 by Stempel of Frankfurt, and by Mergenthaler in America shortly thereafter. The development of Optima occurred during the period 1955–1958. However, the curved lines of the stems of each letter result from technical considerations of type manufacturing rather than purely esthetic considerations." The proportions of Optima Roman are now in the Golden Section: lowercase x-height equalling the minor and ascenders-descenders the major. Thus, too many German types have ascenders which are too long and descenders which are too short. Zapf stated: "This base line is not ideal for a roman, as it was designed for the high x-height of the Fraktur and Textura letters. Optima was the first German typeface not based on the standard baseline alignment. "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 letters of Optima after the inscriptions on the Trajan Column (A.D. On the suggestion of Monroe Wheeler of the Museum of Modern Art in New York City, Zapf decided to adapt his typeface to be used as a book type. Like the Roman capitals, Optima's 'E' and 'R' occupy about a half-square, the 'M' is wide and its sides are splayed. In his book About Alphabets, Zapf commented that his key aim in designing Optima's capitals, inspired by the Roman capital model, was the desire to avoid the monotony of all capital letters having a roughly square footprint, as he felt was true of some early sans-serif designs. Zapf was to work on the development of Optima during most of the following decade. He quickly sketched an early draft of the design on a 1000 lira banknote. 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 as they reach stroke terminals without ending in a serif. Interested in calligraphy and the history of Italian printing and lettering, Zapf first visited Italy in 1950. Portions of the text are copied onto one of his 1950 sketches. Zapf cited this gravestone as inspiring Optima.
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