OPTIMA by HERMANN ZAPF
Nikol Stancheva, Verena Sedlmeir, Anna-Maria LÂ ebedew
OPTIMA by
HERMANN ZAPF
“Opitma by Hermann Zapf” © 2020 Nikol Stancheva, Verena Sedlmeir, Anna-Maria Lebedew Germany, Munich 21 / 07 /2020 First Edition MD1019 Typografie 2, Prof. Sybille Schmitz Author / Designer / Typographers: Nikol Stancheva, Verena Sedlmeir, Anna-Maria Lebedew Printery / Bookbinding: Robert Mielke / Gigaprint GmbH Printet in Germany Paper: 100 g / qm Materials: Font: Optima Font size: 09 pt
01 | THE STORY ABOUT HERMANN ZAPF
06
WAR D. STEMPEL AG TEACHER TYPEWRITER AUTHOR FLOWER ABC TYPESETTING SYSTEM AMS EULER HZ PROGRAM AWARDS
02 | INTERVIEW WITH NOVUM
40
03 | PSYCHOGRAM FROM OPTIMA
42
04 | OPTIMA’ STORY
58
FIRST DRAFT PRODUCTION DIGITALISATION OPTIMA NOVA
05 | FONT FAMILY
70
06 | FONT CLASSIFICATION
72
07 | FONT ANATOMY
74
UPPERCASE LOWERCASE
08 | KERNING
134
09 | LEGABILITY
136
10 | FONT COMPARISON
144
11 | APPLICATIONS
150
12 | LIST OF ILLUSTRATIONS
160
13 | LIST OF LITERATURE
162
01 | THE STORY ABOUT HERMANN ZAPF
“MY LIFE STORY BEGINS IN NUREMBERG. IN THIS CITY, I WAS BORN ON THE 8TH OF OCTOBER IN NOVEMBER 1918, JUST IN THE EMPIRE.”
With these sentences, Hermann Zapf begins his book “Alphabet Stories”, which was published in 2007 by the Mergenthaler Edition of Linotype GmbH. He was one of the most famous German typographers of the 20th century. During Hermann Zapf‘s childhood years, Munich and Berlin were still shaken by the revolution of that time. The war ended and the Republic was proclaimed in Berlin in November 1918. More than the total number of deaths - around 20 Million people - that Germany and the Allies lost during World War, died during the flu wave between 1918 and 1919. Normally he would have been one of three child, but sadly his two siblings died during the flu epidemic. However, he achieved far more than his r ecognition in the typography scene in his life and was also a respected calligrapher, author and teacher both in his time and still today. At the beginning of his education he attended a general school in Nuremberg. Meanwhile, his dream job during this time
was to become an electrical engineer, but it was unattainable for a boy in his situation. Zapf was the son of an active trade unionist at the time of the then dominant Nazi regime. Due to the prohibition of the free trade unions, his father became unemployed in May 1993 and he unfortunately could not fulfill his childhood dream. For this reason, he began his apprenticeship as a positive retoucher in 1934, through which he discovered his attachment for calligraphy. A year earlier, Zapf married his wife Gudrun von Hesse, who was also a typographer and bookbinder. Together they gave birth to their son Christian Ludwig. As a founding member of the Association Typographique Internationale, he advocated better payment for designers and the containment of typographical plagiarism. As an artistic director and consultant to companies such as D. Stempel, Linotype, the International Typeface Corporation, Hell and URW, Zapf has long been a central figure in the writing industry. His output was enormous for over 60 years; he even designed Greek and Persian writings. His commitment reached into unlikely niches. The wife of an industrialist in Pittsburgh, for example, donated a collection of rare botanical books. She wanted a special typeface for the university‘s collection catalogue and Zapf provided it, the Hunt Roman. He left them there, as a rarity, for connoisseurs. He was one himself. For 15 years, Zapf lived quite secluded in Darmstadt, where he died on Thursday, as is now known, at the age of 96. He is survived by his wife Gudrun Zapf-Hesse, also a type designer, 97 years old. ¹ ill. 1 Hermann Zapf and Gudrun Zapf von Hesse 1. Deutschlandfunk. 2020. Typograf - Zum Tod Des Schrift - Connaisseurs Hermann Zapf.
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2. Monotype GmbH, i., 2020. 70 Jahre Schrift-Design - Linotype Font-Beitrag.
01 | the Story about hermann zapf
“POOR CONTEMPORARIES MIGHT THINK THAT I ONLY MARRIED OFF THE COMPETITION, AS THE BIG COMPANIES DO TODAY. BUT THAT’S NOT TRUE. I THINK MY WIFE WILL SHOW YOU ALL HOW AMAZINGLY INDEPENDENT SHE IS AND WHAT OUTSTANDING ARTISTIC SKILLS SHE POSSESSES.”
ill. 2 Hermann Zapf and Gudrun Zapf von Hesse
Gudrun Zapf von Hesse learned the bookbinding trade from 1934 to 1937 from Prof. Otto Dorfner in Weimar and worked there as a partner until her master’s degree in 1940. During her
training, she was already intensely occupied with scripts based on books by Rudolf Koch and Edward Johnston. W orked as a master in Berlin in 1941, as well as writing lessons with Johannes Boehland. From 1946 own bookbinder‘s workshop in Frankfurt am Main. From 1946 to 1954 she taught writing at the Städelschule, State University of Fine Arts in Frankfurt. In 1951 her first publication “Diotima” was published by the type foundry D. Stempel AG. That was about the time Hermann and Gudrun got married. Even though they work separately on their projects, they have an impressive collection of writings together. Gudrun created font designs for stamps, URW, Bitstream, Berthold, Hallmark and of course also for Linotype. In 1991, she received the “Frederick W. Goudy Award for Typography” from the Rochester Institute of Technology. ²
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WAR
Hermann Zapf was born on 1. January 1907. He was drafted into the Reich Labour Service on 1. April 1939 to strengthen the West Wall to France. However, since Zapf was not accustomed to hard work, he quickly developed problems with his heart and was then transferred to the inside. There, his task was to translate camp records into reverse writing. In 1941, Zapf was drafted into the Wehrmacht, which in turn caused problems due to his health, so that he was assigned to the cartographic unit and subsequently sent to Bordeaux as a map artist. However, this was not the only reason why Zapf was spared. He had the talent to write his name a millimeter small and was therefore spared from the activities in the trenches. He then went to Bordeaux to retrace secret maps of Spain’s rail network. Towards the end of the war, he fell into the hands of the hostile French, who, however, had not done him any harm, but had him returned to Nuremberg four weeks after the war due to his poor health. After all this, Zapf again pursued his professional activities until he finally travelled back to Frankfurt in 1947 to take up a job at D. Stempel AG.
01 | the Story about hermann zapf
ill. 3 Hermann Zapf
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D. STEMPEL AG
During autumn 1947 Hermann Zapf took up a position at D- Stempel AG in Frankfurt, which existed from 1895 till 1986, and was one of the most important font suppliers of Linotype GmbH, founded by David Stempel. From 1900 through 1983, the foundry produced matrices for Linotype typesetting machines. In 1985, Linotype acquired the company, and the founding operations were moved to Darmstadt, were today they form part of the Hessian State Museum (Hessisches Landesmuseum)³ Zapf was very lucky, because there was a great demand for fonts in Germany. Many things were destroyed during the war and even the necessary material in Leipzig was denied to people from West Germany. Thanks to its great influence and share in several foundries, D. Stempel AG had broad access to even oriental fonts as well as historical original matrices. The company took great pleasure in Zapf’s skills, so that he was even allowed to participate in revisions and extensions of fonts. As an artistic director, he was always up to date with regard to supply and demand and was thus able to draw his own advantage from it and design his own writings, which he was then able to successfully present to D. Stempel AG.
3. Monotype GmbH, i., 2020. D. Stempel AG - Linotype Font Designer Gallery.
01 | the Story about hermann zapf
ill. 4 and 5 D. Stempel AG
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  ill. 6 Hermann Zapf
“
TYPOGRAPHY Is TWO-DIMENSIONAL ARCHITECTURE, BASED ON EXPERIENCE AND IMAGINATION, AND GUIDED BY RULESAND READABILITY.
” 14 14 | 15
TEACHER
After graduating in 1938, he moved to Frankfurt am Main, where he began his training as a typewriter and calligrapher. After the end of the Second World War Hermann travelled back to Frankfurt where he worked as an artistic director at the Frankfurt type foundry D. Stempel AG until 1956. In the meantime, Zapf accepted several orders in the field of typeface and book design. He learned how to cut dies through the cooperation with the D. Stemel AG. Between 1948 and 1950, Zapf was again responsible for the Department of Typography as a teacher at the Werkkunstschule, now known as the Hochschule für Gestaltung in Offenbach am Main. Zapf further expanded his previous teaching activities, which he had acquired up to that time, i nternationally. In 1954, he began giving lectures at Yale University in the United States. From 1956 he became a freelance typewriter and calligrapher in Frankfurt and in 1957 he again began to give lectures at the University of California in Los Angeles. Zapf even held a professorship in his graphic design department at the Carnegie Institute of Technology in Pittsburgh, Pennsylvania, in 1960. He lectured at Harvard University in 1954 about the development of typographic computer programs, as well as at Princeton University. The University of Texas in Austin showed great interest in Zapf‘s ideas, but this was not based on mutuality, as Zapf’s fiancée did not want to live permanently in the USA. In 1972 he held lessions about typography at the Technical University of Darmstadt and four years later, he took the opportunity of a professorship in computer-aided typography, which was made possible by the Rochester Institute of technology. This was the first time such a department has ever been offered worldwide. From 1977 to 1987, Zapf taught at the College Graphic Arts and Photography, shuttling between Darmstadt and Rochester.
01 | the Story about hermann zapf
ill. 8 D. Stempel AG
ill. 7 Hermann Zapf
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ill. 9 Hermann Zapf
01 | the Story about hermann zapf
“The work of a type designer requires more care and a ccuracy than in any of the usual disciplines. Hardly any other creatixve activity has such an order of magnitude in worldwide d istribution, neither advertising, nor the production of books and magazines.” 18 | 19
TYPEWRITER
With his classic fonts Palatino, Optima or Zapfino, Hermann Zapf had a profound influence on the font design. For all of his work, Zapf used a wide variety of techniques, from manual typesetting, photo and light typesetting to digital typesetting. Hermann Zapf designed over 200 fonts like (1976), Edison (1978), Kompakt (1954), Marconi (1976), Medici Script (1971), Melior (1952), Noris Script (1976), Optima (1958), Optima nova (2002), Orion (1974), Palatino (1950), Palatino nova (2005), Palatino Sans (2006), Saphir™ (1953), Sistina (1950), Vario (1982), Venture (1969), Virtuosa Classic (2009), Linotype Zapf Essentials (2002), Zapfino (1998), Zapfino Extra (2003), ITC Zapf Chancery (1979) ITC Zapf International (1976), ITC Zapf Book (1976), Zapf Renaissance Antiqua (1984–1987), ITC Zapf Dingbats (1978) and so many more. Through an exhibition as well as the book “Das Schreiben als Kunstfertigkeit (Writing as Artistry)”, he already dealt intensively with the german writer Rudolph Koch during his schooling. In the course of time, his interest in such topics grew so much that he self-taughtly dealt with the field of artistic writing development. “The Gilgengart Fracture”, which began in 1938, was Hermann Zapf’s first typeface for D. Stempel AG. The model was the handwritten booklet “Die Reimchronik von Oberursel”. He was only 20 years old when the font was published. At the request of Gustav Mori, the font is named after the book “Der Gilgengart”, which Hans Schönsperger wrote at the
01 | the Story about hermann zapf
4. Typografie.info. 2020. Gilgengart.
beginning of the 16 th century. It was printed in the 19 th century for Emperor Maximilian I. The first standard grade in 36 points was cut by August Rosenberger and completed in 1939. By the Ordinance of Standard Writing in 1941, however, the typeface was given a difficult start. It was only after an interruption that it was completed from 1950 to the year 1952 4. Then, Hermann Zapf developed the two writings “Hallmark textura” and the “Pan-Nigerian alphabet”, which is a set of 33 Latin letters standardised by the National Language Centre of Nigeria in the 1980 s. It is intended to be sufficient to write all the languages of Nigeria without using digraphs. The Hallmark Textura is one of only two fractures that Zapf designed. It is inspired by some of his own drawings in his book Feder und Stichel as well as from other historic texturas that already existed. He used a calligraphic ductus for the Textura, so that the SCHÄFTE get bigger at the end and the BRECHUNGEN will be rounded. His Zapfino Extra with programmed variants was acquired in the year 2001 by Apple and digitized by Akira Kobayashi. In the following years, Hermann Zapf expanded his writing Zapfino and added Greek and Cyrillic characters to it. Zapfino even appeared on Linotype and was purchased and digitized by Apple in 2001 as Zapfino Extra. In 1960 he also prepared a preamble to the Charter of the United Nations in four languages for the Pierpont Morgan Library in New York.
ill. 10 Hermann Zapf
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01 | the Story about hermann zapf
“IN MY TYPEFACES I HA MYSELF IN PROPORTION CLASSICS SUCH AS GAR CORRESPOND TO THE R WAS ALSO IMPORTANT F EMBELLISH THE FONT TO ON A FAMILIAR TERRA THOUGH I DEALT WITH SIGN SUCH AS THE S UP
AVE ALWAYS ORIENTED N TO THE FONTS OF THE RAMOND OR KIS. THESE READING H ABITS AND IT FOR ME THAT I DID NOT OO MUCH, BUT M OVED AIN OF DESIGN, EVEN H NEW FORMS OF DEPERELLIPSE AT M ELIOR.” HERMANN ZAPF
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AUTHOR ill. 11 Stamps for the Deutsche Bundespost from 1951–54
01 | the Story about hermann zapf
ill. 12 Manuale Typograhicum from Hermann Zapf
5. Zapf, H., 1970. Manuale Typographicum. Cambridge (Massachusetts): The M.I.T. Press, p.Introduction.
In the year he published his book “Manuale Typographicum” with the Z-Presse in Frankfurt am Main and New York, which was translated into eighteen other languages in 1954 and 1968. This book is only available as a pocket book. “The purpose of the manual is to show the myriad possibilities of the expressiveness and beauty of type, whether individually or in massed text, by the use of purely typographic means.” 5 What was initially only planned as a small contract work for D. Stempel AG turned out to be a larger project than planned. In his book there are 95 different quoted authors, 38 of whom were his contemporaries. Among them are some designers, but also philosophers and writers. After he presented his plan for implementation to the company, they had to negotiate some compromises. The plan was to bring a book to the market, which consists of two volumes with 60 writing plates each. The first volume was scheduled to be released on 30 June. Anniversary of the company owner appear and the second to the 60 th Anniversary of the company itself. The project was to be produced in the in-house print shop on copper printing paper and sewn with thread. Due to financial problems, a simple adhesive binding was agreed and only one tape with 100 plates each was created. At the same time, from 1951 to 1954, he designed twelve stamps for the Deutsche Bundespost.
“LETTER FORMS REFLECT THE STYLE OF A PERIOD AND ITS CULTURAL BACKGROUND.”
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01 | the Story about hermann zapf
He also wrote books like “Feder und Stichel”, which was published 1949 in Frankfurt am Main. Together with August Rosenberger, Hermann Zapf wrote the book while he had already begun to develop the Gilgengart font. He did not want the details of his handwriting to be lost due to the etched cliché, which is why Rosenberger made this for him in lead. For this reason, they also decided for a landscape format. Unfortunately, this project, as well as many others, was considerably delayed in production by the war. The book contains 26 tablets, which were adorned with quotations and alphabets from various fonts. The project was finally presented to D. Stempel AG in 1948 and commissioned. Due to the limited editions of 80 books in german and 2.000 in english, Zapf gained prestige and finally made a name for itself. His book “Alphabet Stories” contains over one houndred pages and was published in the year 2007 as a hardcover. Its written as a first-person account of Hermann Zapf and is about his story and typographic work, as a german version as well as in english. In the field of book design, Hermann Zapf designed several designs for publishers such as Suhrkamp, Insel, Büchergilde Gutenberg, Carl Hanser Verlag and many others. However, Zapf never accepted orders from advertising agencies. Even though his most famous works include his fonts, he also wrote more than 600 books, one tenth of which was awarded at the Competition of the Most Beautiful Books.
ill. 13 short extract from Alphabet stories from Hermann Zapf
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FLOWER ABC
ill. 14 “Blumen ABC” from Hermann Zapf and August Rosenberger
01 | the Story about hermann zapf
In 1934, Hermann Zapf designed his first drawings for “Blumen ABC”. These were created first as brush drawings. This was a collaboration between Zapf and August Rosenberger. In the meantime, Zapf also designed a book called Alpenblumen with Josef Weisz, which was finally completed in 1947. In September 1948, Zapf and Rosenberger presented their design to D. S tempel AG, who used their project to represent the company. The book contains drawings by Hermann Zapf combined with floral poems by Rudolph Koch and Friedrich Schnack. They used the font Zapfs Palatino or Novalis and colored the pictures by hand. Due to financing problems, only 180 copies were printed on the remaining floral paper of the printing house below him, as well as a part on Japanese paper from Rosenberger. As it turned out that the production was not feasible due to the materials and costs, they were limited to a few copies.
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TYPESETTING SYSTEM
ill. 15 H.Zapf and Knuth discussing typeface
01 | the Story about hermann zapf
ill. 16 Zapf and Knuth working on the TeX System
In 1971, Hermann Zapf and the computer scientist Donald E. Knuth joined forces to further develop the TeX typesetting program. Zapf took care of the appropriate fonts for the program, while Knuth was responsible for the sentence program itself. The Euler family of fonts for the American Mathematical Society was also created in this way. TeX in general, is a typesetting system that was released in 1978. It’s a typesetting complex of mathematical formulae, also known “as one of the moste sophisticated digital typograohical systems.” 6 It is useful in academia such as mathematics, economics, computer science, quantitative psychology, statistics, linguistics and engineering. The two main goals of the program are to achieve maximum results with minimal effort and to achieve the quality of the product on each computer equally.
6. En.wikipedia.org. 2020. Tex.
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AMS EULER
In 1989, together with Euler, he published a documentary about the script itself called AMS-Euler. A new Typeface for Mathematics. AMS Euler is an upright cursive typeface, commissioned by the American Mathematical Society (AMS) and designed and created by Hermann Zapf with the assistance of Donald Knuth and his Stanford graduate students. It tries to emulate a mathematician’s style of handwriting mathematical entities on a blackboard, which is upright rather than italic.It blends very well with other typefaces made by Hermann Zapf, such as Palatino, Aldus and Melior, but very badly with the default TeX font Computer Modern. All the alphabets were implemented with the computer-assisted design system Metafont developed by Knuth. Zapf designed and drew the Euler alphabets in 1980–81 and provided critique and advice of digital proofs in 1983 and later. The typeface family is copyright by American Mathema-
01 | the Story about hermann zapf
tical Society, 1983. Euler Metafont development was done by Stanford computer science and/or digital typography students; first Scott Kim, then Carol Twombly and Daniel Mills, and finally David Siegel, all assisted by John Hobby. Siegel finished the Metafont Euler digitization project as his M.S. thesis in 1985. The AMS Euler typeface is named after Leonhard Euler. First implemented in METAFONT, AMS Euler was first used in the book Concrete Mathematics, which was co-authored by Knuth and dedicated to Euler. This volume also saw the debut of Knuth‘s Concrete Roman font, designed to complement AMS Euler. The Euler Metafont format fonts were converted to PostScript Type 1 font format by the efforts of several people, including Berthold Horn at Y&Y, Barry Smith at Bluesky Research, and Henry Pinkham and Ian Morrison at Projective Solutions. It is now also available in TrueType format. 7
7. En.wikipedia.org. 2020. AMS Euler.
ill. 17 AMS Euler
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HZ PROGRAM 01 | the Story about hermann zapf
From 1986 Zapf developed a computer program called hz-Program together with the URW Software & Type GmBH in Hamburg. For the first time, the program enabled typographic fine-tuning on the screen, which contributed to the improvement of the font. In 1964 at Harvard University I talked about programmed typography. This was too early in the sixties, and the industry ignored such ideas. The manufacturers of typesetting machines were only interested in computerized production, and not at all in aesthetic questions of typography. The School of Printing Management and Sciences at RIT, the Rochester Institute of Technology, was the first university in the world to establish, in 1976, a chair for research and development on the basic structures of typographic computer programs. Since 1977 I have been teaching at RIT. We worked with variable combinations of typographic elements — we called them bricks — as modular units and creative tools. By means of instruction commands these elements could be arranged and rearranged in many variations and combinations for books and magazine layouts. With these pre-programmed units we worked step by step — but always limited by the memory of the computers. At Rochester in the beginning we did not get any help or technical support from the typesetting industry. Every new idea was killed by the costs of programming and by the restrictions of space at that time. I must confess we had a lot of difficulties with coding to simplify the keystrokes. Don’t forget, in the seventies there were no PCs or windowing systems to use. With the late Aaron Burns in New York in 1977 I founded a company to develop programs for “Office Communication”, as we called it. Also Herb Lubalin joined in with our crazy ideas. All these first developments had been on a menu basis which allowed a solution to be selected from a list of illustrated examples. The next big step: in 1984 Steve Jobs with his Macintosh started in a completely new direction. New software was needed, and typographic presentation on the screen could be more varied and easier to handle. The possibility of getting various typefaces without any big investment enlarged the typographic palette very quickly in the following years. More and more quality was wanted, and plenty of computer space was now available and cheap for everybody. Software was offered for all kinds of solutions from many new companies. This was the time for me to begin work again on a high-level typographic computer program. People now took such ideas seriously and not just
as the dreams of a perfectionist. What was tailored at RIT in the seventies has been refined in a final version together with URW in Hamburg since 1988. Our goal was to include all the digital developments available. You can see the differences between the traditional typesetting of a column and the same story executed by the hz-program. What we wanted to produce was the perfect grey type area without the rivers and holes of too-wide word spacing. The general concept was not new at all. Our old hero Johannes Gutenberg in nearby Mainz also wanted the perfect line, to compete with the calligraphers of the 15 th century. But he used a lot of ligatures — special letter combinations to save space — like be, da, do, he, pp, etc. In addition he needed many abbreviations, which were in common use in his time. How the hz-program works: it is partly based on a typographically acceptable expansion or condensing of letters, called scaling. Connected with this is a kerning program which calculates kerning values at 100 pairs per second. The kerning is not limited only to negative changes of space between two critical characters, but also allows in some cases positive kerning, which means the addition of space. Digital typography will set the future trends of aesthetics in typesetting. With all the programs available today there is no excuse any more for mediocre typography in books or magazines. In 1984, however, the American software company Adobe received the patent for this and used it in its well-known InDesign program. 8
8. Cajun.cs.nott.ac.uk. 2020.
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AWARDS ill. 18 Hermann Zapf
01 | the Story about hermann zapf
Due to his talent, he received several awards, such as the First Prize for Typography at the Biennale in Brünn in 1966, the First Gold Medal of the Type Directors Club of New York City, and the Frederic W. Goud Award for Typography in Rochester in 1969. The following years were followed by several more, such as the Gutenberg Prize in 1974, the SoTA Typography Award of the Society of Typographic Aficionados in Chicago in 2003 and even the posthum art prize of the Ike and Berthold Roland Foundation in 2016 as well as many more.
“
AWARDSIt is so easy today to copy a font or to make a new one from the data of an existing font without much effort. But that‘s not the creativity.
” 36 36 | 37
ill. 19 Hermann Zapf and Gudrun Zapf von Hesse
01 | the Story about hermann zapf
Hermann Zapf is one of the most fascinating protagonists of the typography history of the 20 th century. His biography highlights the development of typography, its techniques and technologies as well as its perception in society from the mid-20 th century into the 21st century. Such as the typographer and press printer Hermann Rapp (born on 21 October 1921). He died in front of his friend Hermann Zapf in February 2015 in his contribution to the 90 th anniversary of his death. Hermann Zapf’s birthday in autumn 2008 emphasized: “With tenacity he [Hermann Zapf] fought for perfection for a long life. Those who stood near him were dragged along or preferred to look for a smaller path away from him. For he could not help but draw everything to himself, to process it in himself and to make the result, whether calligraphy or alphabet with all its additions available for many languages of this world, the book, the printed works.”
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02 | INTERVIEW WITH NOVUM
Die vergangenen 90 Jahre waren eine besonders bewegte und bewegende Epoche voller Umbrüche und Revolutionen – ganz besonders für die gestalterischen Berufe. Was waren aus Ihrer Sicht die wichtigsten Marksteine? Was hat die Künstler und Designer am stärksten beeinflußt? Hermann Zapf: Die Erfindung des Computers. Mich hat diese Maschine von Anfang an begeistert, auch wenn viele das Gerät zunächst noch ungläubig beäugt hatten. Ich habe mir schon sehr früh Gedanken gemacht, wie es die aufwendige Arbeit des Gestaltens und Schriftentwerfens erleichtern kann. Was waren für Sie persönlich in der Rückschau die wichtigsten kreativen Ereignisse und Entwicklungen der vergangenen Jahrzehnte? Hermann Zapf: Die Digitalisierung war in meinen Augen das Grundlegendste. Egal, ob es die Schrift, die Musik oder alle anderen Dinge unseres Lebens betraf. Sie hat zu einer weiteren Verbreitung von Informationen geführt. Das sehen Sie ja heute am Beispiel des Internets, wie schnell und einfach Sie an Informationen herankommen und wie die Schriftanwendung für jedermann heute zu einer Selbstverständlichkeit geworden ist. Welche Künstler und Designer haben für Sie selbst die größte Rolle gespielt? Wer hat Sie nachhaltig beeinflußt? Hermann Zapf: Für mich waren es vor allem Rudolf Koch und die ausdauernde Akribie, mit der er sich dem Schreiben und Schriftentwerfen gewidmet hat. Auf welche Neuerung oder Mode der letzten Jahrzehnte hätte man aus Ihrer Sicht gut verzichten können? Hermann Zapf: Auf das Schriftkopieren. Es ist heute so leicht, eine Schrift zu kopieren oder aus den Daten einer bestehenden Schrift ohne großen Aufwand eine neue zu machen. Aber darin liegt doch nicht die Kreativität.
Novum.graphics. 2020. Novum - World Of Graphic Design : Interviews.
Die technischen Umbrüche haben die typografische Entwicklung sicher am stärksten beeinflußt. Sie selbst beschäftigten sich schon früh mit Fotosatz und Digitalisierung und haben die Chancen, aber auch Herausforderungen erkannt. Was war für Sie dabei der wichtigste Schritt? Hermann Zapf: Für mich war die Realisation der Zapfino ein großes Ereignis: Daß es hier gelungen ist, meine Handschrift mit ihren unterschiedlichen Schreibformen in eine flüssige, sich ständig abwechselnde »Handschrift« auf dem Computer zu realisieren, halte ich für einen großen Meilenstein. Meine weitere Entwicklung auf diesem Gebiet ist die Zapfino Ink, bei der die Buchstaben einen eigenen Farbverlauf haben, so daß der Text aussieht, als wäre er mit Tinte aus der Feder geschrieben, denn durch den Tintenfluß ist die Farbgebung nicht einheitlich. Das ist technisch noch nicht komplett perfekt, aber auch das wird in der nächsten Zeit gelöst werden. Ihre eigenen Schriften sind im besten Sinne zeitlos. Sie haben sich über alle typografischen Trends und Moden hinweg bewährt, sind in allen Techniken verfügbar und werden immer noch weiter ausgebaut. Worin liegt wohl das Geheimnis dieses Erfolgs? Hermann Zapf: Ich habe mich bei meinen Schriftentwürfen in den Proportionen immer an den Schriften der Klassiker wie zum Beispiel Garamond oder Kis orientiert. Diese entsprechen den Lesegewohnheiten und es war für mich auch wichtig, daß ich die Schrift nicht zu sehr verschnörkelt, sondern mich auf einem gewohnten Terrain des Designs bewegt habe, auch wenn ich mich mit neuen Gestaltungsformen wie der Superellipse bei der Melior auseinandergesetzt habe. Aufgrund all Ihrer Erfahrungen: Wo sehen Sie heute das größte kreative Potential für die Zukunft? Hermann Zapf: Ich denke, dass es mit der Digitalisierung unserer Welt noch weiter gehen wird und die Anwendung bei allem noch leichter wird. Es kann gut sein, daß in Anzeigen auf mobilen Geräten die Schrift nicht mehr fester Bestandteil des Bildes ist und nicht ohne weiteres geändert werden kann, sondern dass die Schrift, wie im Fall der Webfonts, auf dem Bild steht und so eine personalisierte Anzeige möglich sein wird. 40 | 41
03 | PSYCHOGRAM
from Optima
03 | psychogram from optimA
dynamic
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sans serif
03 | psychogram from optimA
organic
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filigree
03 | psychogram from optimA
clear
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elegant
03 | psychogram from optimA
concise
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concave
03 | psychogram from optimA
fluently
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modern
03 | psychogram from optimA
unique
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versatile
03 | psychogram from optimA
line contrast
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  ill. 20 Hermann Zapf
“
The designer of new typefaces is limited by the traditional forms of the alphabet. There are few possibilities for new ideas, for a good design should not have eccentric and unusual details.
” 56 56 | 57
ill. 21-22 Optima sketsches on a 1,000 Lire bank note
04 | OPTIMA’ STORY 04 | Optima’ Story
In 1950, Hermann Zapf wanted to create in creating a combination between roman and sans-serif structures. While he was doing his research more about the traditional roman typefaces, Zapf found himself in the Basilica di Santa Croce in Florence. Standing in-front oft the fifteenth-century tombstones, Zapf was immediately inspired by their Roman lettering. He found beauty in the way those Roman capitals strokes widen as they reach stroke terminals however lacking the traditional serifs. The idea for a new typeface came to Zapf right away and as he had no drawing paper with him, the very first sketches for Optima he did on two 1000 lire bank notes. (ill. 21-22)
59
58 | 59
04 | Optima’ Story 61
ill. 23-24 Sketches from Florence, 1950
60 60 | 61
Sketches from Florence, 1950
FIRST DRAFT
The next six years Zapf spent perfecting his design. In his book “About Alphabets“ Zapf explains, that his main idea while creating this new font was to avoid the monotony of the straight lines of the Roman capitals, which have a roughly square footprint. In 1954 Monroe Wheeler of the Museum of Modern Art in New York suggested to Zapf to adapt his design to be used as a book typeface. Taking his advice, Zapf refined the proportions of the lowercase and with the help of Ed Rondthaler at Photolettering, Inc., (ill. 25) he tested the suitability of the design for continuous reading application. (ill. 26) The capitals of Optima, as Zapf has stated, follow the proportions of the Trajan Column inscriptions, which date from A.D. 113 and serve as the best model of Roman majuscules. Zapf also said that Optima is the first German type not based on the standard baseline alignment established in 1905. 9
04 | Optima’ Story
ill. 25 Aaron Burns, Hermann Zapf and Ed Rondthaler
63
This base line is not ideal for a roman, as it was designed for the high x-height of the Fraktur and Textura letters. Thus, too many German types have ascenders which are too long and descenders which are too short. The proportions of Optima Roman are now in the Golden Section: lowercase x-height equalling the minor and ascenders-descenders the major. However, the curved lines of the stems of each letter result from technical considerations of type manufacturing rather than purely esthetic considerations. 10
ill. 26 Corrections from Hermann Zapf
62 | 63
9 -10. Lawson, Alexander (1990). Anatomy of a Typeface. David R. Godine. p. 330.
PRODUCTION
In 1952 Zapf turned his drawings over to the famous puchcutter utter August Rosenberger at the D. Stempel AG typefoundry in Frankfurt. (ill. 27) The making of a fond in metal was a difficult and time-consuming process. It was not until 1958, when Optima was fist manufactured. The Linotype matrices took two more years of making. (ill. 28) Zapf wanted to name its new typeface “Neu Antiqua”, after its Roman heritage. H owever the marketing team at D. Stempel AG had the last word. The new typeface by Hermann Zapf made its official d ebute at the DRUPA printing exhibition in 1958 under the name “Optima”, with three font weights - regular, bold and italic.
August Rosenberger was a famous punch cutter, who wokred at the D. Stempel AG typefoundry in Frankfurt from 1927 until his retirement in 1962.
04 | Optima’ Story
ill. 27 August Rosenberger and Hermann Zapf
65
Typeface design for the Linotype was restricted by three basic factors. First, kerning is impossible without special compound matrices. (The basic italic fin a Linotype font therefore always has a stunted head and tail.) Second, the em is divided into only 18 units, which discourages subtlety of proportion. Third, the italic and roman matrices are usually paired. In most faces, each italic letter must therefore have the same width as its counterpart in roman. Many Linotype faces have nevertheless been modified in the course of digitization, to make use of the kerning capabilities of digital machines and restore the independent proportioning of roman and italic. 11
ill. 28 Linotype matrices for Optima
64 | 65
11. Bringhurst, Robert (2004). The Elements of Typographic, version 3.0. Hartley and Marks Publishers. p. 137.
DIGITALISATION
In 1965 the CRT (cathode ray tube) typesetting started replacing the difficult and expensive puched typefaces by digital m agnetic tape. With the new technology also came some complications. The beautiful fine curvature and subtle tapers of Optima were lost in the digitalisation process by the CRT technology. For a proper rendering it needed much higher resolution that was not yet possible at the time. (ill. 29)
04 | Optima’ Story 67
ill. 29 Optima in low resolution
66 66 | 67
OPTIMA NOVA
Almost fifty years later the technology of digital lettering was finally advanced enough to fulfil the initial idea for Opti ma. Hermann Zapf worked with Akira Kobayashi, the type Director at Linotype GmbH, on a digital redesign for the font family Optima. (ill.30) In 2003 Linotype GmbH released the new “Optima nova”. One of the improvements made was on the italic lettering. The original Optima Italic was more of an oblique roman with a slant of 12 degrees, limited by metal matrices. Where as the Optima nova has a true italic, slanted with additional 3 degrees. Another difference, that Zapf personality points out in his book “Alphabet Stories”, is that: “the former duck beak upstroke of the figure 1 (like Donald Duck) has been changed to a cheeky new design in the manner of Pinocchio’s nose.” 12 (ill. 31) “Most of the text typefaces that are popular today were limited by technical constraints of then existing typesetting me thods. Now, we can recreate the typeface as the designer intended.” 13
04 | Optima’ Story
ill. 30 Hermann Zapf and Akira Kobayashi
69
ill. 31 Optima Nova Italic 12 -13. Zapf, Hermann (2007). Alphabet
68 | 69
S tories. A Chronicle of Technical Deve lopments. 2nd ed. pp. 79.
05 | FONT FAMILY
Optima comes in six typestyle.
05 | FONT FAMILY
| classification 07 | classification
70 70 | 71
According to Willberg’s matrix: dynamic Antiqua-variation. Optima falls into the first category of style-groups, also called “Wanderer”. The typefaces of this group have dynamic organic humanistic form. Having a good readability makes them suitable for large amounts of body text, both on the web and in print. The stress is horizontal, making them well balanced and solid. Other famous typefaces from this group besides Optima are Gill Sans and Zapf’s other masterpieces - Palatino. However, what distinguishes Optima from Palatino is its lack of serifs, making it an Antiqua-variation.
06 | FONT CLASSIFICATION
DIN 16518 was created by the G erman Institute for Standardisation (deut. “Deut schen Instituts für Normung”) in 1964. This classification system divides the typefaces in eleven groups, focusing more on the historical period and style. In 1998, a new improved version of the DIN classification was invented. DIN 1998 categorises the typefaces in five groups, according to their form and lettering.
Hans Peter Willberg was a famous typographer and illustrator. He is one the most renowned German book designers of the post-war era. His matrix for classification of typefaces focuses more on the structure of the lettering, breaking them down into five style-groups with six form-variations.
According to DIN 16518: Group 7 - Antiqua-variation This group is home to all of the typefaces, that do not fit in the other categories. Optima has some subtle swellings at the terminals similar to a glyphic serif, but does not actually have real serifs. The trend of reinventing older typefaces, like Optima with its neoclassical style, made the DIN 16518 classification according to historical style more challenging and unpractical. According to DIN 1998: Group 3 - Lineal
72 | 73
07 | FONT ANATOMY
07 | font anatomy
ABCDEFGHI JKLMNOPQR STUVWXYZ 74 | 75
The “A” is about 700 fontlab units high, so that means it has a height of round about 246,94 mm and this letter is 667 units wide including the pre width and post width. The up-bow is at the bottom 74 units thick apart from the fact that the “Optima” has a lot of curvatures in the lines. In addition to that the upstroke as well as the downstroke have both descents which are about two negative units. The inner sides of the letter a more concave than the outlines, it would symmetrical if the bottom part from the downstroke to the cross stroke weren‘t different. On the other side is the widest line, the downstroke, and it‘s about 106 units wide. Also the x-height has a height of 483 units and is 174 units above de cross stroke. However the cross stroke has a concave areas too, so the distance varies. The cross stroke is the thinnest line with a thickness of 42-46 units.
The “Optima” is based on the scheme of changing line width, therefore the whole alphabet will be analyzed. Because of this scheme all letters have a lot of concave areas or slight notches. This topic will start with the capital type, following with the small letters.
07 | font anatomy
The “B” has its highest point at 685. The stem is 97 units thick and has a little descent which is two units beneath the baseline, moreover the curve has a descent part too. The lower curve is bigger thus it stands out 24 units more than the upper one. However the curves are looking like the widest lines, the upper one is 87 units and the lower line is 92 units broad. The transition from the stem to the upper curve has a concave area which protudes, this spot is arched by five units.
A B 635 667
17
700
x-height
cross stroke
baseline descent 17
685
x-height
baseline
98
433 611
descent 80
76 | 77
The “C” has the exact same thickened as the letter “A” but it is by two units smaller than the first letter. Also the “C” has a bigger descent with 15 negative units. In addition to that it takes the form of a circle still the curve occasionally falls out of shape like at the transition to upper end of the “C”. The curve is the thickest part of the letter and the shadow axis is about two degrees oblique.
07 | font anatomy
The fourth letter has a stem also with concave areas on all four sides because of that it develops descent. This means that the deepest parts of the letter is located at two negativ units. Furthermore the descent on the top of the stem is attached with the curve of the “D”. The width of this letter is 778 units so it‘s more massive than the letters which were discussed so far.
C D shadow axis
698
x-height
baseline
42
592 667
90
descent 33
632 778
685
x-height
baseline descent 56
78 | 79
One of the thinnest letters is the “E” with a width of 500 units and it has a height of 685 units. The stem of this one is the thickest part, the arms are slightly thinner but at the end they‘re getting a bit broader and concaver. However the three arms are all in a different length. The lowest arm is the longest, the middle arm is the shortest and the upper one is the secong longest. Of course this letter has a descent at the bottom of the stem too.
07 | font anatomy
So the “F” is structured like the “E” expect the bottom of the stem and the thickness of the middle arm. The stem gets a bit thicker on the inside of the line and the middle arm is quite thinner than the other arm because it‘s more concave.
90
370 500
685
362 500
x-height
baseline descent 48
x-height
baseline descent 40
80 | 81
F
90
E
685
The curve of the “G” is the thickest part of the letter and at some parts it follows the form of a circle. The transition from the curve to the neck and the upper end of the “G” is the thinnest fragment. It is one of the widest letters with a unit of 778. In addition to that the neck has concave areas which the inner area is more curved and the outer segment gets a little thicker.
The special thing about the “H” is that it‘s axially symmetric. Moreover the letter has a width of 778 units and consists of two stems and one cross stroke. 07 | font anatomy
G H shadow axis
698
x-height
baseline
60
descent
646 778
90
72
598 778
685
x-height
baseline descent 90
82 | 83
It‘s one stem and all four sides are curved. Furthermore the “I” has a height of 685 units and a broadness of 278 units, so the letter is on of the finest.
07 | font anatomy
The letter “J” is like the minuscule “j”, at the beginning slightly thicker with about 97 units, then becomes somewhat narrower to 83 units and thicker downwards again. In general, its height is 826 units and wide 215 units, with a height of 680 units minus the lower length.
-27
567 611
681
82 278
x-height
baseline descent 98
x-height
baseline descent 90
84 | 85
J
98
I
685
The letter “K” has a slightly curved trunk, which has a concave notch at both ends. It is a total of 687 units high and 511 units wide. The upper notch, however, is, as usual with the Optima, somewhat more pronounced than the lower one. In contrast to the trunk, the lower branch of the letter is very straight. It begins with 76 units thinner and becomes at the end with 86 by 10 units thicker. The upper two of the Ks is very thin. At the beginning it is 45 units thick, then it becomes slightly thinner in the middle (41 units) and towards the end it again reaches a thickness of 59 units. Like the upper one of the trunk, its notch is more concise than that of the lower one.
07 | font anatomy
The letter “L” is a total of 687 units high and 369 units wide. Like the others in the middle, its trunk is a little thinner with 82 units and is gaining in thickness with 97 units. Its notches are similarly pronounced both at the top and at the bottom of the letter. The horizontal line of the L develops from 42 units up to 56 units in width, which corresponds completely to the usual charm of the Optima.
K L 696
x-height
baseline
90
descent 10
412 500
90
517 556
681
x-height
baseline descent 41
86 | 87
The letter “M” is one of the largest with a height of 700 units. It is 793 units wide and its legs are easily exposed. The front trunk is slightly slanted than the rear trunk, whereas the front trunk is much thinner than the rear trunk with its 69 units. The letter has no tips, but was flattened towards the end by the type designer. With an average thickness of 78 to 85 units, the front middle bar is thicker than the subsequent rear bar with 48 to 44 units. Another conspicuous feature is that the front middle becomes only thicker, whereas the back in the middle becomes thinner again and thickenes again afterwards.
07 | font anatomy
The letter “N” is a total of 713 units high and 598 units wide, but at the rear part it runs -15 below the underside. Both vertical trunks are slightly curved and concave at the end, whereby it is recognizable that the front with 1 unit in the middle is a bit thicker and the rear however has a more pronounced notch, which however does not reach the same height with the x-axis as at the front. The slightly slanted horizontal beam reaches a thickness of 87 to 90 units, whereby it also becomes thinner and then thicker again. Just like the M, there are no tips, but flattened areas.
M N 412 500
48
681
x-height
baseline descent 48
681
x-height
baseline
90
517 556
descent 90
88 | 89
The letter “O” is relatively simple. It amounts to a height of 713 units, whereby -15 units count only underlength. It reaches its widest point on a horizontal line at 98 units and its thinnest on a vertical line at 37 units. On the sides it behaves just as broadly, which is responsible for its oval shape.
07 | font anatomy
The letter “P” is slightly different, as it has a notch at the transition from trunk to bow. It is comparatively 687 units high and 440 units wide. The trunk is, as always, curved and has the usual concave notches, but, seen from left to right, it runs from 685 to 680 and again to 685 units before finally drawing its bow. The bow reaches its thickest point with 92 units and dilutes again towards the end. What is noticeable is that the trunk on the left side is more curved than on the right.
O P 698
x-height
baseline
42
descent 42
749 833
90
517 556
681
x-height
baseline descent 26
90 | 91
The letter “Q” is 914 units high and 749 units wide. It is built up of an oval circle, combined with a beam widening downwards, which also has the concave notch. Just like the O, it reaches its thickest point at 98 units and its thinnest at 37 units.
07 | font anatomy
The letter “R” is similar to the aforementioned P. Both have the curved notch on their top. The R is also a total of 687 units high, but with its 505 units wider than P. The trunk is more curved on the front left side than on the right and the arc reaches its maximum at 88 units. The beam leading downwards has a slight deviation of the units and remains largely evenly from the thickness.
Q R 412 500
42
681
696
x-height
baseline descent 42
-216
x-height
baseline
90
517 556
descent 16
92 | 93
The capital “S” tilts slightly to the right and has its highest point at 696, almost metting the cap line. The spine is 93 units at its thickest and the curve descents with 15 units beneath the baseline. It has prominent flaring on terminals. The bottom half is 582 units and the top is only 216 smaller, making it look a bit top-heavy, similar to other Zapf designs. The set width is 582 with the same space for and after the letter (45). The width of the upercase “S” itself is 366 (top) and 582 (bottom).
07 | font anatomy
The uppercase “T” has its highest point at 681. The stem is 88 and the bar 48. Similar to the other letters in Optima, it has straight strokes flare at the end with cupped terminals. The lowercase “t” has prominent angled terminal with a tilt to the left, that 105. The bar is longer on the right side (106) then on the left one (62).
S T 366
698
x-height
baseline
45
410 500
45
20
descent
516 556
685
x-height
baseline descent 20
94 | 95
The cappital “U” has set width of 778 units and hight of 590 units. It descents 15 units beneath the baseline. The left sroke (83) is ticker then the right one (53) ending with the cupped terminals. The bow is similar to the lowercase “o”.
07 | font anatomy
The uppercase “V” has its highest point at 685 like the cap “T”. Similar to the cap “U” the left sroke is ticker then the right one ending with the cupped terminals. The stams are getting a bit slimmer towards the vertex, that end with the distinctive cupped form. The set width of the cap “V” is 667 units and the top part of the letter has 633 units width. The uppercase “V” ascends 685 units above the baseline.
U V 590
94
778
685
x-height
baseline descent 94
685
x-height
baseline
17
633 667
descent 17
96 | 97
The uppercase “W” has the biggest set width - 1000, with width of the letter itself 974 units on the top and 522 on the bottom. Similar to the cap “V” the left srokes are ticker then the right ones ending with the cupped terminals. It is constructed of two slightly narrower cappital “V”. The height is also the same - 685.
07 | font anatomy
The “X” has its highest point at 685 units and the set width is 611 units. The two strokes in an X are not the same thickness, the left diagonal stem is thicker then the right diagonal one. N either are their apexes actuallyp arallel. The widest line, the d ownstroke, is about 82 units wide. The upstroke is around 42 units.
W X 974
685
x-height
baseline
13
descent 13
522 1000
504
37
537 611
685
x-height
baseline 37
descent
98 | 99
The cappital “Y” has the same hight (685) as the uppercase “X”. The set widht is 611 units and the width of the top part is 567 units. The two arms are not the same thickness, the left diagonal stem is thicker then the right diagonal one.
07 | font anatomy
The majuscule “Z” has the same set width (611) as the uppercase “X” and “Y”. The main stroke is around 85 units thick. The height point is at 681 units. The bottom body width is 567 units and top bar is 39 units narrower.
Y Z 567 611
22
528
685
x-height
baseline 22
descent
685
x-height
baseline
23
565 611
23
descent
100 | 101
07 | FONT ANATOMY
07 | font anatomy
abcdefghijkl mnopqrstuv wxyz 102 | 103
483 units is the x-height and the highest point of the “a”. The
end stroke is rounded and is the first desent with one negative unit. Besides to that the second descent is with 12 negativ units the deepest overshoot. Additionally the stem and the curve has the same width, only the transition and the shoulder are getting more narrow.
07 | font anatomy
The stomach of the “b” ends withe the x-height therefore this letter has an ascender which has its highest point at 752 units. The connections between the stomach and the stem are gettin narrowed. In contrast to the whole steam the spur is tapered but is flattened at the end. Thus the stomach is about 12 negativ units under the baseline.
a b 42
423 500
483 x-height
baseline first descent second descent 35
752 ascender
x-height
baseline
57
457 556
descent
42
104 | 105
Let‘s go on with the “c”. Consequently the curve is the broadest part until the transition to the end of the line starts, there is the thinnest part of this letter. Nevertheless to the end the “c” gets a bit thicker.
07 | font anatomy
In the meantime the curve of the letter “d” is as thick as the stem but the curvature is even with the x-height and the stem has its highest point at 752 units. Not like the “b”, the bottom of the stem isn‘t narrowed yet the inner side of it is a bit b eveled. Moreover the letter has two descents, the first one is at two negative units and the second descent is at 12 negative units.
c d 483
x-height
baseline
42
descent 42
416 500
42
457 556
752 ascender
x-height
baseline first descent second descent 57
106 | 107
The “e” is the same height as the x-height and this letter has a descent of 12 negative units. In addition to that the spout is a thinning of the curve and is slightly beveled at the end. The cross stroke is also a bit concave.
07 | font anatomy
This letter “f” has total height of 755 units, so it has a significant length. The stem is more arched on the left side. Moreover a strong thinning begins from the x-height up to the arm. Fur thermore the arm is the thickest part of the “f” and is beveled at the end. The cross stroke ends at the x-height and is longer to the right than to the left and it’s also concave.
e f 483 x-height
baseline
35
descent
436 500
29
17
281 278
755 ascender
x-height
baseline descent
-20
108 | 109
The “g” has a descender of 268 negative units but the letter goes up to the x-height. The curve is a little warped to the right and is also getting thinner. Moreover the bridge becomes thicker towards the loop and takes on its thickness. The flag is concave and thickened at the end.
07 | font anatomy
The stem of the letter “h” has a height of 752 units and in addition it is outside and also arched at the ends. Its shoulder is getting thicker from the stem to the downstroke. Besides the downstroke is constructed in the same way as the stem.
g 33
446 500
483 x-height
baseline
h
descender
752
21
x-height
baseline
76
404 556
descent 76
110 | 111
The structure of the “i” is quite simple. The stem is like very other stem concave but its height is beneath the x-height. The point is over the x-height and round. Its total height is 698 units.
07 | font anatomy
The letter “j” generally has a length of 966 units and a width of 191 units. Since the letter has a lower length, one assumes only the normal height with 700 units. The thinnest part of the letter is the middle part of the lower arc with 31 units, which increases in width again towards the end. The circle, on the other hand, is the widest with 102 units and the trunk, on the other hand, with its 74 units, is still on average thick. It becomes wider at the beginning as well as towards the end and has a concave notch towards the circle, which h armonizes well with each other.
-1
461 500
x-height
88
102 278
x-height
baseline descent 88
966
baseline descent 88
112 | 113
j
700
i
698
The letter “k” is very different in its width, but its height is generally 754 units and its width 416 units. Its trunk is slightly thinner and more curved than the lower line next to it, which is almost completely straight. the upper line, however, is by far the thinnest, as it stands out with its 37-55 units from the lower 75-79 units as well as the trunk, which amounts to 7489 units. In this letter, the concave notch is also visible at each of its ends. All parts are connected by a rounded point.
07 | font anatomy
The letter “l” is one of the simplest. It has a height of 754 units and a total width of 90 units. Like the other letters, it is curved and has a concave notch at both ends, with the upper one being slightly more pronounced than the lower one.
76
k 570 500
752
x-height 475
baseline descent 8
94
261 278
x-height
baseline descent 94
114 | 115
l
605
The letter “m” is a total of 485 units high and 694 units wide. Its two front trunks are both 74 units at the thinnest point, with the last of them appearing somewhat skewed and having 76 units. The bows are at the beginning slightly thinner with just over 20 units and develop into thicker over 70 units.
07 | font anatomy
The letter “n” is similar to the previous letter n with a height of 485 units and a width of 404 units. Its main trunk is concave on both sides and is 74 units at the thinnest point, with the one unit next to it being a bit wider and slanted. As with the “m”, the arc of the letter is getting thicker.
m n 570 500
70
x-height 475
baseline descent 69
x-height
475
baseline
76
461 500
descent 76
116 | 117
The letter “o” is oval, with a height of 495 units and a width of 486 units. It also has some underlength, so it is actually only 483 units above the line. The thickest part is 88 units, in contrast to the thinnest with 32 units.
07 | font anatomy
The letter “p” is a general height of 748; without the corresponding undersize, it would only reach 483 units. Its trunk is bent like the other letters and has the usual concave notch at the beginning as well as at the end. The arc begins with 26 units at the very beginning still very narrow, whereby it reaches a thickness of up to 88 units in the middle and towards the end with about 30 units thicker than at the beginning. The circle itself, which is connected to the trunk, has been c onstructed as well as the oval.
o p x-height 475
baseline
35
descent 35
570 500
57
517 556
x-height
baseline descent 42
118 | 119
-265
Like the “p”, the “q” is equally constructed with its concave notches, the trunk, which is thinner than the thickest part of the oval at the front.
07 | font anatomy
The letter “r” is a total of 485 units high and 243 units wide. Its trunk is curved and has the usual notches at the beginning and end. The small arc of the letter begins with a thickness of 25 units and develops into an 88 unit thick arc, whereby it dilutes drastically towards the end.
42
76
461 500
570 500
475
baseline descent 57
-265
x-height 475
baseline descent 14
120 | 121
r
q
x-height
The lowercase “s”, similar to the uppercase, tilts slightly to the right and has its highest point at 481, almost metting the x-height line. The spine is around 85 units at its thickest and the curve descents 11 units beneath the baseline. It has p rominent flaring on terminals. The bottom half is 309 units and the top is a bit smaller - 277 units. This makes the minuscule “s” look a bit top-heavy, similar to other Zapf designs. The set width is 347 with the same space for and after the letter (45).
07 | font anatomy
The minuscule “t” has prominent angled terminal with a tilt to the left. The bar is longer on the right side (106) then the left one (62). The ascender extends 211 units over the x-height, making the overall body height - 605 units.
s 277
40
309 389
x-height 483
baseline descent 40
17
261 278
x-height
baseline descent 0
122 | 123
t
607
The minuscule “u” set width is 413 units and the hight is the same as the minuscule “s” - 475 units. The body width is 413 The left sroke goes into a bowl, that d escents a little under the baseline. The main difference between the upper- and lowercase is the right stem. Instead of curving upwards, the bowl goes into a joint that meets the right stem.
07 | font anatomy
The minuscule “v” has its highest point at 475 like the lowercase “u”. The left sroke is ticker then the right one, ending with the cupped terminals. The stams are getting a bit slimmer towards the vertex, that end with the distinctive cupped form. The set width of the minuscule “v” is 500 units and the top part of the letter itself is 461.
u v 404 556
76
x-height 473
baseline descent 76
x-height
473
baseline
21
458 500
descent 21
124 | 125
The lowercase “W” is wider in comperisson to the other lowecase letters, with set width at 778 units. The width of the body ist 369 units on the top and 745 on the bottom. S imilar to the cap “V” the left srokes are ticker then the right ones ending with the cupped terminals. It is constructed of two slightly narrower cappital “V”. The height is also the same - 475.
07 | font anatomy
The minuscule “x” has the same set width (500) as the lowecase “u” and “v”. The two arms are not the same thickness, the left diagonal stem (73) is thicker then the right diagonal one (39). Just like the uppercase “X”, the two strokes are not the same thickness, the left diagonal stroke is thicker then the right diagonal one. Neither are their apexes actually parallel.
w x 745
x-height 468
baseline
18
descent 18
742 778
25
450 500
x-height 473
baseline descent 25
126 | 127
The minuscule “y” has the same set width (500) as the lowecase “x”. The two arms are not the same thickness, the left diagonal stem is thicker then the right diagonal one. The descender goes 15 units beneath the baseline. The height point is at 475 units.
07 | font anatomy
The lowercase “z” has the same set width (500) as the lowecase “x” and “y”. The main stroke is around 75 units thick. The height point is at 470 units. The bottom bar’s width is 427 units and top bar is 44 units narrower.
22
34
432 500
456 500
473
baseline descent 22
-265
x-height 473
baseline descent 34
128 | 129
z 383
y
x-height
500
0
01234 700
07 | font anatomy
56789 The numbers of the Optima adapt visually to the letters. They have several bends and thus have a more dynamic and organic effect. You can see from the bottom line that many cover the marker and there are several concave movements.
130 | 131
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132 | 133
08 | KERNING
5. Haley, Allan. ABC’s of Type: a Guide
to Contemporary Typefaces. Publishing Book by Haley, Allan. p.79
BASELSTADT Metrics
08 | Kerning
Optima can be set within a wide choice of line spacing values, from very tight to very open. Optima also benefits from a wide range of letterspacing capability. The design can be set quite tight, with spacing as established by Linotype, or even letter spaced. If there are any guidelines, Optima should be set more open than tight. It’s not that readability is affected much when Optima is set on the snug side; it’s just that the unhurried elegance and light gray color created by the face are disrupted by letters that are set too tight. 5
BASELSTADT Optical
134 | 135
09 | LEGABILITY
Herrmann Zapf’s goal has always been to develop a legible font. The “Optima” is a very good example of his goal in writing development. The default kerning of the Regular enables easily understanding of the group of words and c reates suitable s accades. The changing stroke width of the font leads to a harmonious typeface, which stimulates the reader to deal with the text.
The “Regular” 04 pt
05 pt
This size is very small but can only be seen with extremely good eyes and a good printer. Nevertheless it is exhausting to read and not suitable for longer texts. For this proportions the same applies as for 4 pt. However you could possibly use it for
image captions yet it is still a bit too tiny. 06 pt
This font size is more suitable for small-scaled captions.
07 pt
The previously mentioned can be said about this font size too.
08 pt
8 pt is too small for long texts and maybe too
big for image captions. Perhaps this size is practical for the title text or for the chapter line next to the page number.
09 | Legability
09 - 13 pt
These sizes could be used for text paragraphs because they are good readable.
+ 14 pt
From this measurement, the “Optima” should only be used for headlines or similar.
Hamburgefonstiv 04 pt
Hamburgefonstiv 05 pt
Hamburgefonstiv 06 pt
Hamburgefonstiv 07 pt
Hamburgefonstiv 08 pt
Hamburgefonstiv 09 pt
Hamburgefonstiv 10 pt
Hamburgefonstiv 11 pt
Hamburgefonstiv 12 pt
Hamburgefonstiv 13 pt
Hamburgefonstiv 14 pt
Hamburgefonstiv 15 pt â&#x20AC;&#x2030;136â&#x20AC;&#x2030;|â&#x20AC;&#x2030;137
Hamburgefonstiv 04 pt
Hamburgefonstiv 05 pt
Hamburgefonstiv 06 pt
Hamburgefonstiv 07 pt
Hamburgefonstiv 08 pt
Hamburgefonstiv 09 pt
Hamburgefonstiv 12 pt
Hambur 10 pt
Hamburgefonstiv 14 pt
Hamburgefonstiv 16 pt
Hamburgefonstiv 18 pt
Hambur 20 pt
09â&#x20AC;&#x2030;|â&#x20AC;&#x2030;Legability
The “Italic” The “Optima Italic” can also be read from a distance with size. This font style is simple and pleasant, both in smaller or larger size. The principies of the “Regular” about the font sizes can also be applied on the “Italic”.
rgefonstiv
Hamburgefonstiv 11 pt
rgefonstiv
Hamburgefonstiv 22 pt 138 | 139
Hamburgefonstiv 04 pt
Hamburgefonstiv 05 pt
Hamburgefonstiv 06 pt
Hamburgefonstiv 07 pt
Hamburgefonstiv 08 pt
Hamburgefonstiv 09 pt
Hamburgefonstiv 12 pt
Hambur 10 pt
Hamburgefonstiv 14 pt
Hamburgefonstiv 16 pt
Hamburgefonstiv 18 pt
Hambur 20 pt 09â&#x20AC;&#x2030;|â&#x20AC;&#x2030;Legability
The “Bold” The hairstrokes and the base strokes differ enough, so that the typeface is clear and easy to read. 04 pt
You could say that 4 pt is too small because it‘s just like a blue area. Nevertheless with good eyes and a lot of concentration you could decipher it.
05 pt
The same goes for this size but just a bit easier to read.
06 pt
It‘s simpler to identify and you could use it for illustration captions if the caption needs a highlight.
07 pt
Furthermore the same could be said at 7 pt too.
08 pt
It‘s well readable but still a bit to tight.
rgefonstiv 09 - 13 pt
Hamburgefonstiv 11 pt
+ 14 pt
If you need something to stress in your normal text block which has the size from 9 pt to 13 pt. From this size on, it‘s useful for headlines.
rgefonstiv
Hamburgefonstiv 22 pt 140 | 141
Hamburgefonstiv 04 pt
Hamburgefonstiv 05 pt
Hamburgefonstiv 06 pt
Hamburgefonstiv 07 pt
Hamburgefonstiv 08 pt
Hamburgefonstiv 09 pt
Hamburgefonstiv 12 pt
Hambu 10 pt
Hamburgefonstiv 14 pt
Hamburgefonstiv 16 pt
Hamburgefonsti 18 pt
Hambu 20 pt 09â&#x20AC;&#x2030;|â&#x20AC;&#x2030;Legability
The “ExtraBlack” Quantity texts in “ExtraBlack” are difficult and uncomfortable to read even with a sufficient size. You need the right size to understand the phrases without any real effort. 04 pt
So 4 pt it‘s too small. In the end it is a small mark.
05 pt
Also hard to read and gives the appearance of a mark.
06 pt
Better to identify but wouldn‘t use it in a text.
07 pt
The same applies for 7 pt.
08 pt
Easier to recognize and more useful for highlights but “Bold” is still better.
09 - 13 pt
urgefonstiv
+ 14 pt
Can be used to stress something. Perfect for brave and interesting headlines.
Hamburgefonstiv 11 pt
iv
urgefonstiv
Hamburgefonstiv 22 pt 142 | 143
10 | FONT COMPARISON
The “IvyMode” “IvyMode is characterized by its dramatic contrast and moderate angled stress. [...] Pointed apexes and vertices on the A, M, N, V, and W as well as the diagonal strokes extending beyond the left stem in the M and N, add to ist sharpness.”15
15. Type Network Staff, 2020. Ivy À La Mode. [online] Type Network.
10 | FONT COMPARISON
IvyMode ABCDEFGHIJKLMNO PQRSTUVW abcdefghijklmnopq rstuvw 0123456789 Optima ABCDEFGHIJKLMN OPQRSTUVW abcdefghijklmnop qrstuvw 0123456789 144 | 145
DIFFERENCES
What strikes directly when you compare bothe fonts is the size and the witdh of the two and the stroke width which varies in different ways. If the two “A”‘s are compared which is also the largest letter in both fonts, it would be noticed that the “IvyMode” is larger. To be precise, its height is 744 units, 44 units more than that of the “Optima”. In addition to that is the x-height about 60 units higher. Despite the same font size, many letters of the “IvyMode” are a bit wider. For example the letters with a larger curve or a longer line. Furthermore the descender varies, the “g” and the “j” have different lengths. The “Optima” remains the sane descender of 286 negativ units. The “g” is another example of the differences. The loop is open and the flag is more curved. The “IvyMode” has ten different typefaces as shown on the f ollowing page. Meanwhile the “Optima” has only five typefaces tho choose from, these are “Regular” and “Regular Italic”, “Bold” and “Bold Italic”, “ExtraBlack”.
10 | FONT COMPARISON
1
ivy.typenetwork.com, status: 14.07.2020
Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv Hamburgefonstiv
IvyMode Thin IvyMode Thin Italic IvyMode Light IvyMode Light Italic IvyMode Regular IvyMode Regular Italic IvyMode Semibold IvyMode Semibold Italic IvyMode Bold IvyMode Bold Italic Optima Regular Optima Regular Italic Optima Bold Optima Bold Italic Optima ExtraBlack
146 | 147
SIMILARITIES
Hamburge
10 | FONT COMPARISON
Hamburg
The fact that the stroke width does not remain the same but always varies, is an important commonality. Also that a sans serif font wants to give the appearance that it has serifs is a similarity. Both fonts and their typefaces are modern, elegant and have a wide range uf uses. If you compare the fonts in a set text, it does not immediately appear that the two have so many differences.
efonstiv
Optima Regular in 75 pt
gefonstiv
IvyMode Regular in 75 pt
148 | 149
11 | APPLICATIONS ill. 32 “Vietnam Veterans Memorial” in Washington DC
11 | APPLICATIONS
The “Optima” can be used in areas such as art and photo books, logos, catalogs, children‘s books, magazines etc. This broad area is due to the neutral drawing of the front.
150 | 151
ill. 33 “University of Calgary” in Canada
11 | APPLICATIONS
ill. 34 “University of Calgary” logo
152 | 153
ill. 35 “Aston Martin” a british sports car manufacturer
11 | APPLICATIONS
ill. 36 “Estée Lauder Companies” logo
154 | 155
ill. 37 “Yahoo” an american investment company, in Optima Roman
11 | APPLICATIONS
ill. 38 “Tumblr” a blogging plattform
156 | 157
ill. 39 “Netflix” an american media company
ill. 40 “Jaguar” an indian car manufacture, in Optima Demi Bold
11 | APPLICATIONS
ill. 41 “Pandora” a danish jewelry industry, in Optima Demi Bold
158 | 159
12 | LIST OF ILLUSTRATIONS
Cover: Hermann Zapf FOROALFA, n.d. Marin Sobre «Hermann Zapf, El Tipógrafo Que Marcó Una Era». [image] Available at: <https://img2.pngio.com/marin-sobre-hermann-zapfel-tipografo-que-marco-una-era-foroalfa-hermannzapf-png-600_600.png> [Accessed 17 July 2020]. ill. 01. Hermann Zapf and Gudrun Zapf von Hesse RIT’s Cary Graphic Arts Collection, 2018. [image] Available at: <https://cdn.rit.edu/images/ news/2019-01/67664.jpg> [Accessed 17 July 2020]. ill. 02. Hermann Zapf n.d. [image] Available at: <https://www.gutenberggesellschaft.de/fileadmin/user_upload/Bilder_und_ Downloads/Hermann_Zapfjpg.jpg> [Accessed 17 July 2020]. ill. 03. Hermann Zapf and Gudrun Zapf von Hesse RIT Libraries, n.d. [image] Available at: <https:// www.rit.edu/carycollection/sites/rit.edu.carycollection/files/exhibition_images/gudrunZapf.jpg> [Accessed 17 July 2020]. ill. 04. D. Stempel AG OniceDesign, 2015. [image] Available at: <https:// www.onicedesign.it/wp-content/uploads/2015/02/ 9443433880_8a60daa88e_o.thumb_.jpg.43f9eaa0fa30af9968bb4339012e02d0.jpg> [Accessed 17 July 2020]. ill. 05. D. Stempel AG OniceDesign, 2015. [image] Available at: <https:// https://artlistr.com/wp-content/uploads/2017/07/ Haas-Type-Foundry-1950s-Max-Miedinger.jpg> [Accessed 17 July 2020]. ill. 06. Hermann Zapf 2015. Hermann Zapf In 1960.. [image] Available at: <https://upload.wikimedia.org/wikipedia/en/ thumb/6/63/Hermann_Zapf_in_1960.jpg/220pxHermann_Zapf_in_1960.jpg> [Accessed 17 July 2020]. ill. 07. Hermann Zapf Mvallsdo, n.d. Hermann Zapf, Entwickler Der Optima. [image] Available at: <https://schriftgestaltung. com/images/fonts/optima-nova/hermann-zapf660x206.png> [Accessed 17 July 2020]. ill. 08. D. Stempel AG OniceDesign, 2015. [image] Available at: <https:// https://4.bp.blogspot.com/-5OKwKwZQLb8/ Uu0OCvEHQaI/AAAAAAAAH7o/YHZ7aIU8yrA/ s1600/9440642837_d66de601c6_o.jpg> [Accessed 17 July 2020].
12 | LIST OF illustrations
ill. 09 Hermann Zapf RIT Libraries, n.d. [image] Available at: <https:// www.rit.edu/carycollection/sites/rit.edu.carycollection/files/exhibition_images/cc20161221_Zapf_2. jpg> [Accessed 17 July 2020]. ill. 10. Hermann Zapf n.d. [image] Available at: <https://bit.ly/2WCkhQx> [Accessed 17 July 2020].
ill. 11. Stamps for the Deutsche Bundespost 2015. Vier Marken Der 16-Teiligen Briefmarkenserie »Helfer Der Menschheit« (1949 – 1953), 1952 Entworfen Von Hermann Zapf. [image] Available at: <https://www.fontblog.de/wp-content/uploads/2015/06/zapf_stamps_neu.jpg> [Accessed 17 July 2020]. ill. 12. Manuale Typograhicum from Hermann Zapf Zapf, H., 1970. Manuale Typographicum. Cambridge (Massachusetts): The M.I.T. Press, p.cover. [image] Available at: <https://images-na.ssl-images-amazon.com/images/I/417aHl3E73L._SY341_ BO1,204,203,200_.jpg> [Accessed 17 July 2020]. ill. 13. short extract from “Alphabet stories” Zapf, H., 2007. Alphabetgeschichten. Bad Homburg: Mergenthaler Edition, Linotype GmbH, p.p. 15. [image] Available at: <https://images-na.ssl-images-amazon.com/images/I/910hWknf8wL.jpg> [Accessed 17 July 2020]. ill. 14. Blumen ABC, illustration Zapf, H. and Rosenberger, A., 1962. [image]Available at: <https://sfpl.org/locations/main-library/book-artsspecial-collections/richard-harrison-collection/scribestreasure> [Accessed 17 July 2020]. ill. 15 H.Zapf and Knuth discussing typeface Bettmann, 2018. Dr. Knuth Discussing Typefaces With Hermann Zapf, The Type Designer. [image] Available at: <https://pbs.twimg.com/media/DusFV4lUUAAqsdz.jpg> [Accessed 17 July 2020]. ill. 16 Zapf and Knuth working on the TeX System Bettmann, 2018. [image] Available at: <https://maciaschain.gitlab.io/lunotipia/images/ZapfKnuth.jpg> [Accessed 17 July 2020]. ill. 17. AMS Euler Acklam, P., 2008. Sample Of The Typeface AMS Euler. [image] Available at: <https://upload.wikimedia.org/ wikipedia/commons/2/2a/AMS_Euler_sample_text. svg> [Accessed 17 July 2020]. ill. 18. Hermann Zapf dpa, 2015. Gespür Für Zeit Und Geschwindigkeit - Hermann Zapf Im Jahr 1998. [image] Available at: <https://www.sueddeutsche.de/image/sz.1.2509989 /430x645?v=1520049480> [Accessed 17 July 2020]. ill. 19 Hermann Zapf and Gudrun Zapf von Hesse n.d. [image] Available at: <https://www.tdc.org/app/ uploads/2019/02/doublePortrait-_Facebook-banner. jpeg> [Accessed 17 July 2020]. ill. 20. Hermann Zapf Röhrscheid, J., 2011. Hermann Zapf, Darmstadt. [image] Available at: <https://www.fontblog.de/wp-content/ uploads/2015/06/portrait_zapf_cJuergen_Roehrscheid. jpg> [Accessed 20 July 2020]. ill. 21. Optima sketsches on a 1,000 Lire bank note Linotype GmbH, 2003. Sketches For The Optima Typeface. [image] Available at: <https://www.linotype. com/1808/optima-nova.html> [Accessed 17 July 2020].
ill. 22. Optima sketsches on a 1,000 Lire bank note Linotype GmbH, 2003. Sketches For The Optima Typeface. [image] Available at: <https://www.linotype.com/1808/optima-nova.html> [Accessed 17 July 2020]. ill. 23. Sketches from Florence, 1950 Zapf, H., 2007. Alphabetgeschichten. Bad Homburg: Mergenthaler Edition, Linotype GmbH, [image] p.p. 107. ill. 24. Sketches from Florence, 1950 Zapf, H., 2007. Alphabetgeschichten. Bad Homburg: Mergenthaler Edition, Linotype GmbH, [image] p.p. 32. ill. 25. Hermann Zapf and Ed Rondthaler n.d. Aaron Burns, Hermann Zapf And Ed Rondthaler Shortly After ITC Was Formed. [image] Available at: <https://www.printmag.com/post/house-aaronburns-built> [Accessed 17 July 2020]. ill. 26. Corrections from Hermann Zapf Tarnowski Division, 2015. [image] Available at: <https://tarnowskidivision.pl/optima-vs-wnetrzaen/> [Accessed 17 July 2020]. ill. 27. August Rosenberger and Hermann Zapf Zapf, H., 2007. Alphabetgeschichten. Bad Homburg: Mergenthaler Edition, Linotype GmbH, [image] p.p. 27. ill. 28. Linotype matrices for Optima Kabel, M., n.d. Satzspiegel Optima. [image] Available at: <https://schriftgestaltung.com/schriftlexikon/schriftportrait/optima.html> [Accessed 17 July 2020]. ill. 29. Optima in low resolution Osterer, H. and Stamm, P., 2012. Adrian Frutiger Typefaces. Swiss Foundation Type and Typography, [image] p.279. ill. 30. Hermann Zapf and Akira Kobayashi Linotype GmbH, n.d. [image] Available at: <http:// image.linotype.com/fontmagazine/fontfeatures/ zapfinoextra/Zapf_Kobayashi.jpg> [Accessed 17 July 2020].
ill. 34. University of Calgary, Canada University of Calgary, n.d. The entrance to the University of Calgary. [image] Available at: <https:// www.660citynews.com/wp-content/blogs.dir/ sites/8/2016/11/17/University-of-Calgary.jpg> [Accessed 17 July 2020]. ill. 35. Aston Martin emblem n.d. [image] Available at: <https://logos-download. com/wp-content/uploads/2016/03/Aston_Martin_logo.png> [Accessed 17 July 2020]. ill. 36. Estée Lauder Companies logo The Estee Lauder Companies, 2019. The Estee Lauder Companies Logo. [image] Available at: <https:// upload.wikimedia.org/wikipedia/commons/0/03/ Est%C3%A9e_Lauder_Companies_logo.svg> [Accessed 17 July 2020]. ill. 37. Yehoo! logo Yahoo, n.d. Yahoo! Logo. [image] Available at: <https://logos-download.com/wp-content/uploads/2016/02/Yahoo_Logo_big.png> [Accessed 17 July 2020]. ill. 38. Tumblr logo n.d. Tumblr-Logo-In-Optima-Font. [image] Available at: <https://vignette.wikia.nocookie.net/unanything/ images/7/77/Tumblr-logo-in-optima-font.png/revision/latest?cb=20180703062803> [Accessed 17 July 2020]. ill. 39. Netflix logo Agnese, n.d. Netflix Logo Png Emblem - Tipografia Optima Logos. [image] Available at: <https://www. pngitem.com/middle/JiioJo_netflix-logo-png-emblemtipografia-optima-logos-transparent/> [Accessed 17 July 2020]. ill. 40. Jaguar logo Jaguar Cars, n.d. [image] Available at: <https://www. fontinlogo.com/logo/jaguar> [Accessed 17 July 2020]. ill. 41. Pandora logo Pandora, n.d. [image] Available at: <https://www.fontinlogo.com/logo/pandora> [Accessed 17 July 2020].
ill. 31. Optima Nova Italic Linotype GmbH, Optima Nova. [image] p.3. Available at: <https://www.linotype.com/es/6929/ optima-nova.html> [Accessed 17 July 2020]. ill. 32. Vietnam Veterans Memorial, Washington DC First Division Museum at Cantigny, n.d. [image] Available at: <https://www.fdmuseum.org/wp-content/uploads/2019/06/1200px-Vietnam_Memorial_ Wall_with_Washington_Monument.jpg> [Accessed 17 July 2020]. ill. 33. University of Calgary, Canada University of Calgary, n.d. University Of Calgary Logo. [image] Available at: <https://cdn.worldvectorlogo.com/logos/university-of-calgary.svg> [Accessed 17 July 2020].
160 | 161
13 | LIST OF LITERATURE
01. Deutschlandfunk. 2020. Typograf - Zum Tod Des Schrift-Connaisseurs Hermann Zapf. [online] Available at: <https://www.deutschlandfunk. de/typograf-zum-tod-des-schrift-connaisseurshermann-zapf.691.de.html?dram:article_ id=321933> [Accessed 17 July 2020]. 02. Monotype GmbH, i., 2020. 70 Jahre Schrift-Design - Linotype Font-Beitrag. [online] Linotype. com. Available at: <https://www.linotype.com/ de/5663/70-jahre-schrift-design.html> [Accessed 17 July 2020]. 03. Monotype GmbH, i., 2020. 70 Jahre Schrift-Design - Linotype Font-Beitrag. [online] Linotype. com. Available at: <https://www.linotype.com/ de/5663/70-jahre-schrift-design.html> [Accessed 17 July 2020] 04. Typografie.info. 2020. Gilgengart. [online] Available at: <https://www.typografie.info/3/Schriften/ fonts.html/gilgengart-r239/> [Accessed 17 July 2020]. 05. Zapf, H., 1970. Manuale Typographicum. Cambridge (Massachusetts): The M.I.T. Press, p.Introduction. [Accessed 17 July 2020]. 06. En.wikipedia.org. 2020. Tex. [online] Available at: <https://en.wikipedia.org/wiki/TeX> [Accessed 17 July 2020]. 07. En.wikipedia.org. 2020. AMS Euler. [online] Available at: <https://en.wikipedia.org/wiki/AMS_Euler> [Accessed 17 July 2020]. 08. Cajun.cs.nott.ac.uk. 2020. [online] Available at: <http://cajun.cs.nott.ac.uk/compsci/epo/ papers/volume6/issue3/zapf.pdf> [Accessed 17 July 2020]. 09. Lawson, A., 1990. Anatomy Of A Typeface. London: Hamish Hamilton, pp.329. 10. Lawson, A., 1990. Anatomy Of A Typeface. London: Hamish Hamilton, pp.330. 11. Bringhurst, Robert (2004). The Elements of Typographic, version 3.0. Hartley and Marks Publishers. pp. 137. 12. Zapf, Hermann (2007). Alphabet Stories. A Chronicle of Technical Developments. 2nd ed. pp. 79. 13. Zapf, Hermann (2007). Alphabet Stories. A Chronicle of Technical Developments. 2nd ed. pp. 79. 14. Haley, Allan. ABC’s of Type: a Guide to Contemporary Typefaces. Publishing Book by Haley, Allan. p.79
13 | LIST OF literature
15. Type Network Staff, 2020. Ivy À La Mode. [online] Type Network. Available at: <https://ivy. typenetwork.com/news/article/ivy-a-la-mode> [Accessed 20 July 2020].
Novum.graphics. 2020. Novum - World Of Graphic Design : Interviews. [online] Available at: <https:// novum.graphics/de/news/interviews/?tx_news_ pi1%5B%40widget_0%5D%5BcurrentPage %5D=3&cHash=971d1c708c1acf5cf0911bca31510374> [Accessed 17 July 2020]. Linotype GmbH, Optima Nova. Available at: <https:// www.linotype.com/es/6929/optima-nova.html> [Accessed 17 July 2020]. Monotype GmbH, 2020. Linotype Font Feature - The Lifestory Of Hermann Zapf. [online] Linotype.com. Available at: <http://www.linotype.com/149412709/thetypefacespalatinoandoptima> [Accessed 17 July 2020]. tgm-Büro, 2006. Typographische Gesellschaft München E.V.. [ebook] München: medienhaus Kastner, Wolnzach. Available at: <http://archiv.tgm-online.de/ vierseiten/4S_30.pdf> [Accessed 17 July 2020]. Stone, S., 2020. In Memoriam: Hermann Zapf. [online] Web.archive.org. Available at: <https://web.archive. org/web/20150928213844/http://typographics. com/projects/zapf/> [Accessed 17 July 2020]. Gute-schriften.hbksaar.net. n.d. Gute Schriften – Optima. [online] Available at: <http://gute-schriften. hbksaar.net/optima/> [Accessed 17 July 2020]. 2002. Encyclopedia Britannica. Chicago, IL: Encyclopedia Britannica, Vol 29, pp. 1028. Mittelbach, F., 2000. Laudatio Auf Professor Hermann Zapf. [ebook] ResearchGate. Available at: <https://www.researchgate.net/profile/ Frank_Mittelbach/publication/236670728_ Laudatio_auf_Professor_Hermann_Zapf/ links/0046351b418aa7c991000000/Laudatioauf-Professor-Hermann-Zapf.pdf> [Accessed 17 July 2020]. Weichselbaumer, N., 2015. Der Typograph Hermann Zapf. De Gruyter, pp. 237, 245. Raizman, D., 2003. History Of Modern Design. London: Laurence King, pp.28. Bühler, P., Schlaich, P. and Sinner, D., 2017. Typografie: Schrifttechnologie - Typografische Gestaltung – Lesbarkeit. Springer-Verlag, pp.33-35. Siebert, J., 2015. Hermann Zapf 1918—2015. [online] Fontblog.de. Available at: <https://www.fontblog. de/hermann-zapf-1918-2015/> [Accessed 17 July 2020]. LUDWIG, A., 2009. Der Herr Der Buchstaben. [online] https://www.fr.de. Available at: <https://www.fr.de/ rhein-main/darmstadt/konrad-zuse-per37273/ herr-buchstaben-11534394.html> [Accessed 17 July 2020].
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