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For other uses, see Optima (disambiguation).
Optima font sample.svg
Category Sans-serif
Classification Humanist
Designer(s) Hermann Zapf
Foundry Stempel
Date released 1955
Variations Optima Nova

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

Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima was inspired by Roman and Italian stonecarving.[1]

Zapf intended Optima to be a typeface that could serve for both body text and titling. To prove its versatility, Zapf set his entire book About Alphabets in the regular weight.[2] Zapf retained an interest in the design, collaborating on variants and expansions into his eighties.


Zapf cited this gravestone as inspiring Optima. Portions of the text are copied onto one of his 1950 sketches.[3]

Optima’s design follows humanist lines; its capitals (like those of Palatino, Hans Eduard Meier’s Syntax and Carol Twombly's Trajan) are directly derived from the classic Roman monumental capital model, reflecting a reverence for Roman capitals as an ideal form.

Zapf began his design while visiting Italy in 1950 and examining inscriptions there, especially at the cemetery of the Basilica di Santa Croce in Florence; an early draft of the design was quickly sketched on a 1000 lira banknote.[4][3]

In his book About Alphabets, Zapf commented that his key aim, inspired by Roman alphabets, 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. Optima's 'E' and 'R' occupy a half-square, while the 'M' is splayed.[5]

Optima is an example of a modulated-stroke sans-serif, a design type where the strokes are variable in width. The design style has been intermittently popular since the late nineteenth century; Optima is one of the most lastingly popular examples of the genre. Optima was originally targeted by Stempel's Walter Cunz as a competitor to Ludwig & Mayer's Colonia design, which has not been digitised.[6][7] 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.[2][8][9][10][11]

Optima Greek (1973)[edit]

It is a Greek variant designed by Matthew Carter, based on sketches from Hermann Zapf.[12] Digital version has not been produced.

Optima Classified (1976)[edit]

It is a variant designed by Matthew Carter, based closely on Optima Medium. Digital version has not been produced.

Optima nova (2002)[edit]

Optima nova is a redesign of the original font family, designed by Hermann Zapf and Linotype GmbH type director Akira Kobayashi. The new family contains 7 font weights, which adds light, demi, heavy font weights, but removed extra black weight. Medium weight is readjusted to between medium and bold weights in the old family scale. Glyph sets are expanded to include Adobe CE and Latin Extended characters, with light to bold weight fonts supporting proportional lining figures, old style figures, small caps.

The initial and most common release of Optima, like many sans-serif fonts, has an oblique style instead of an italic: the shapes are merely tilted to the right. In Optima nova, this is replaced by a true italic. (In interviews, Zapf has said that this was his original goal from the beginning, but the need to release Optima quickly forced him to settle for an oblique.)

Even in roman fonts, letters such as Q, a, f are redesigned. The overall bounding boxes were widened in Optima nova.

Optima nova Condensed[edit]

It is a condensed variant is which consist of light to bold weights, but no italic fonts. Glyph set does not support proportional lining figures, old style figures, small caps.

Optima nova Titling[edit]

It is a titling capitals variant, which contains only capital letters, with restyled letterform. Glyph set is same as Optima nova Condensed, except it also includes extra ligatures.

In the tradition of hand lettering and lapidary inscription, the titling face shares similarities with the work of Zapf's friend Herb Lubalin especially the exuberant ligatures (for which Lubalin's ITC Lubalin Graph and ITC Avant Garde are notable). Further influence of A.M. Cassandre and Rudolf Koch, whose work greatly inspired the young Zapf, can also be seen in Optima.

Optima Pro Cyrillic (2010)[edit]

In April 2010, Linotype announced the release of Cyrillic version of the original Optima family, in OpenType Pro font formats. Released fonts include Optima Pro Cyrillic Roman, Oblique, Bold, Bold Oblique.[13]


The typeface Optima is used for the Vietnam Veterans Memorial and was used by the 2008 John McCain presidential campaign.[14] Optima is also used as the official branding typeface for Estée Lauder Companies, the University of Calgary,[15] by Aston Martin. It is also used in the logo for banking company Desjardins. Optima is used iconically for Traveller, and Diaspora used it to pay homage to Traveller.[16]

Optima was used in the end credits of the 1973 horror movie The Exorcist as well as for the opening titles of its second sequel, The Exorcist III.

Optima was used in the official logo and most publications associated with Expo 67 in Montreal.

Optima was used for lettering on Premier League kits from July 1997 until May 2007, when it was replaced by a different typeface.[17]

Optima was used 1986–1996 for the logo of HFT Heribert's Fishing Tours (Germany and Canada).

Optima was used in the Taipei Metro.

Optima was used as the original fonts used on The Smiths original 7-inch single covers and their debut album.

Optima was used for the logo of American emo band Moss Icon, albeit slightly weathered.

Optima was used for the logo of Trans TV from December 2001 until December 2013.

Marks and Spencer used the font for its corporate logo[18][19] and as the default on all internal correspondence from 2000 but since 2007 it is gradually being phased out on all signage and packaging as part of another re-branding exercise.

Optima was chosen as the font to be used for the names of those who lost their lives in the September 11 attacks, carved into bronze parapets, at the National September 11 Memorial & Museum, which is named "Reflecting Absence".[20]

The Optima font is used in the logo of the Indian Premier League.

Optima is used in the LDS Church conferences.

Optima is used on the labels of wines from Ridge Vineyards.

Opinions on the design have been variable, perhaps because of its extensive use. Erik Spiekermann described it as "used on parking garages & hospitals across the USA. Tired & inappropriate. I don’t blame the typeface but the designers."[21] He also commented "Optima is patronizing. It hasn't got the guts to be either a proper Sans or Serif, so it keeps all its options open and appeals to the middle...It suits everything and pleases nobody. Optima would indeed make a good president. Hermann the German Zapf is a fine calligrapher and has designed some pretty amazing typefaces that have been over- and badly used, which isn't his fault. But Optima shows too much of its origin: post-war Germany, the early 50s. With the country in ruins and not enough to eat, there was an understandable desire to go back to wholesome type that promised peace and harmony after 12 years of Hitler and 5 years of occupation. Optima is a well drawn face, at least in its original version. And you hardly see it in Germany. Not sure what that says about our politics."[22]

Jonathan Hoefler commented that "after three decades signifying a very down-market notion of luxe, this particular sans serif has settled into being the font of choice for the hygiene aisle."[23]


As with many popular fonts, knockoff designs and rereleases under different names are common, some created by Zapf himself. These all tend to copy the original release, rather than the Optima nova design which represents Zapf's final thoughts on his design. In the Bitstream font collection, Zapf Humanist 601 is provided as an Optima clone. Other Optima clones include Optane from the WSI Fonts collection, Opulent by Rubicon Computer Labs Inc., Ottawa from Corel, CG Omega and Eterna. Freely available implementations include URW Classico (available with URW Font package from Ghostscript). Linux Biolinum is a libre font inspired by it. Zapf's Palatino Sans is a more informal typeface the same style, with a design reminiscent of brushstrokes or calligraphy.

In a memoir written for Linotype, Zapf commented "The name "Optima" was not my idea at all. It is for me too presumptious and was the invention of the sales people at Stempel."


  1. ^ Haley, Allen. "Optima" (PDF). Monotype Imaging. Retrieved 9 October 2015. 
  2. ^ a b Shaw, Paul. "About More Alphabets review". Blue Pencil letter design. Retrieved 23 November 2015. 
  3. ^ a b Stone, Sumner. "Hermann Zapf". Typographics Conference. Retrieved 22 August 2015. 
  4. ^ Siebert, Jürgen. "Fontshop - Hermann Zapf 1918-2015". Fontshop. Retrieved 22 August 2015. 
  5. ^ Standard], Hermann Zapf. [Transl. by Paul (1970). About alphabets : some marginal notes on type design. ([Rev. ed.] ed.). Cambridge, Mass.: MIT Press. ISBN 9780262240109. 
  6. ^ "Optima". Linotype. Retrieved 22 August 2015. 
  7. ^ "Colonia type specimen". Flickr. Ludwig & Mayer. Retrieved 22 August 2015. 
  8. ^ "Joachim Romann" (PDF). Klingspor Museum. Retrieved 23 November 2015. 
  9. ^ Mendoza, José. "Pascal ND". Neufville. Retrieved 23 November 2015. 
  10. ^ "Stellar". Fonts.com. Monotype. Retrieved 29 August 2015. 
  11. ^ Speice, Jim. "Stellar". MyFonts. Speice Graphics. Retrieved 9 September 2015. 
  12. ^ magazine TYPO.18 December 2005 issue Archived March 19, 2009 at the Wayback Machine
  13. ^ International typography gets a Cyrillic boost
  14. ^ Tschorn, Adam (March 30, 2008). "The character issue". Los Angeles Times. 
  15. ^ [1] Archived October 7, 2012 at the Wayback Machine
  16. ^ [2] Archived August 24, 2011 at the Wayback Machine
  17. ^ Neijnens, Sander. "FA Premier League". Retrieved May 1, 2011. 
  18. ^ "M&S launches ’fresh’ brand identity - Brand Republic". brandrepublic.com. 
  19. ^ "Optima Font Family Information". fontco.com. 
  20. ^ Tina Susman, Los Angeles Times (26 August 2011). "Architect's vision takes shape in Sept. 11 memorial". Retrieved August 26, 2011. 
  21. ^ Spiekermann, Erik. "Twitter". Twitter. Retrieved 23 November 2015. 
  22. ^ Spiekermann & Hoefler; Bierut. "I Hate ITC Garamond (comments on article)". Design Observer. Retrieved 6 November 2014. 
  23. ^ Hoefler, Jonathan. "& Non-Fotogenic". Hoefler & Frere-Jones. Retrieved 23 November 2015. 


  • Margaret Re, Johanna Drucker, Matthew Carter, James Mosley. Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press: 2003. ISBN 1-56898-427-8, ISBN 978-1-56898-427-8.
  • Blackwell, Lewis. 20th Century Type. Yale University Press: 2004. ISBN 0-300-10073-6.
  • Fiedl, Frederich, Nicholas Ott and Bernard Stein. Typography: An Encyclopedic Survey of Type Design and Techniques Through History. Black Dog & Leventhal: 1998. ISBN 1-57912-023-7.
  • Jaspert, W. Pincus, W. Turner Berry and A.F. Johnson. The Encyclopedia of Type Faces. Blandford Press Lts.: 1953, 1983. ISBN 0-7137-1347-X.
  • Lawson, Alexander S., Anatomy of a Typeface. Godine: 1990. ISBN 978-0-87923-333-4.
  • Macmillan, Neil. An A–Z of Type Designers. Yale University Press: 2006. ISBN 0-300-11151-7.
  • Zapf, Hermann. Manuale Typographicum. The MIT Press: 19534, 1970. ISBN 0-262-24011-4.

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