Optima is a humanist sans-serif typeface designed by Hermann Zapf and released by the D. Stempel AG foundry, Frankfurt, West Germany in 1958. Though classified as a sans-serif, Optima has a subtle swelling at the terminals suggesting a glyphic serif. Optima was inspired by classical Roman capitals and the stonecarving on Renaissance-period tombstones Zapf saw in Florence on a 1950 holiday to Italy. 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. Zapf retained an interest in the design, collaborating on variants and expansions into his eighties. History Interested in calligraphy and the history of Italian printing and lettering, Zapf first visited Italy in 1950. While in Florence, Zapf was particularly interested in the design of the lettering in tombstones of the cemetery of the Basilica di Santa Croce in Florence, in which the strokes subtly widen as they reach stroke terminals without ending in a serif. He quickly sketched an early draft of the design on a 1000 lira banknote. Zapf was to work on the development of Optima during most of the following decade. In his book About Alphabets, Zapf commented that his key aim in designing Optima's capitals, inspired by the Roman capital model, was the desire to avoid the monotony of all capital letters having a roughly square footprint, as he felt was true of some early sans-serif designs. Like the Roman capitals, Optima's 'E' and 'R' occupy about a half-square, the 'M' is wide and its sides are splayed. On the suggestion of Monroe Wheeler of the Museum of Modern Art in New York City, Zapf decided to adapt his typeface to be used as a book type. "He thereupon changed the proportions of the lowercase, and by means of photography, he tested the suitability of the design for continuous reading application." Zapf designed the capital letters of Optima after the inscriptions on the Trajan Column (A.D. 113). Optima was the first German typeface not based on the standard baseline alignment. Zapf stated: "This base line is not ideal for a roman, as it was designed for the high x-height of the Fraktur and Textura letters. 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