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Optimo is a digital type foundry that design and publish premium typefaces, which are engineered to the highest standards and offer graphic designers and type-users long-lasting tools with a distinctive identity.

10/10/2023

Now available! Metodo Mono
Designed by Davide Tomatis, Metodo Mono includes three weights: light, regular, and bold with italics. A sophisticated design with a timeless character, Metodo brings distinctly early twentieth century curves to a contemporary typeface.

01/06/2023

Now available: Basel Variable and Basel Mono

A major update to the Basel Collection, the program now offers an exhaustive tool that allows dynamic designs alongside static usage, both in proportional and monospace styles. Conceived of to have a dual program, Basel is an innovative typeface designed by Chi-Long Trieu composed of two variants. While Basel Grotesk reinterprets key elements of modernist typography, Basel Classic presents characters with decisively contrasting stroke. Bridging the gap, Basel Variable enables users to define the stroke modulation in addition to the weight and italic axes. Also available, Basel Mono completes the Basel Collection with the corresponding styles.

05/04/2023

New Release! Abstrakt designed by François Rappo.

From the flood of early 20th century new geometric sans-serif typefaces, Abstrakt found inspiration in letterings that furthered the typographic use of the compass and the ruler. Anchored in modernist ideas, Abstrakt’s shapes do not only embody the spirit of the avant-garde but already begin to foreshadow the pop aesthetic of the early computer age.

Based on an examination and synthesis of hand-picked artifacts depicting a lettering style that was en vogue among some graphic artists in the early 1930s, François Rappo built an entire typeface family. Each character is a slight abstraction of conventional letter shapes. It reminisces the formal experimentation and innovation seen in Swiss architecture, graphic and industrial design, notably in the iconic lamps from BAG Turgi. The primary references were the small characters on the 1932 exhibition poster Licht designed by Alfred Williman and the capricious variations found on the 1932 lettering logo Information, a far-left magazine designed by Max Bill. Despite its fairly elementary appearance, Abstrakt’s design is complex and sophisticated. While its uneven stems create a singular rhythm, its rounded ends give the typeface a warmth along with evoking pneumatic designs which were representative of a myriad of the eras engineering advances. Originally suited for use in headlines, Abstrakt has also been developed into text-compatible styles in two widths and four weights, accompanied with their respective italics.

14/11/2022

New scripts!

Practice Pan offers an extended character set, which supports languages that use Cyrillic and Greek alphabets, in addition to those which use the Latin alphabet. It provides accurate and genuine letterforms created for international communication.

Practice is a significant outcome of François Rappo’s constant and evolving design practice which is anchored in the research of typographic paradigms. In the development of serif typography, Practice introduces a new perspective with an unprecedented sharpness.

While its architecture revisits the elegance of Renaissance typography, an innovative calligraphic drawing was achieved to reach a crisp digital identity. Practice is a serif typeface characterized by elegant letter proportions and sharp serifs with carefully orchestrated details. The precise texture of Practice is outstanding, both on paper and on screen. The optical balance of the text rhythm offers an excellent legibility with a contemporary aesthetic.

06/10/2022

Void, new release!

Lucretius wrote that “There can be no center in infinity.” Drawing inspiration from the sensation of floating in space and being pulled by gravitational forces, Void is an original and innovative display typeface. Suspended between past and future, its blobby shapes have a magnetic fluidity that suggests otherworldliness.

Designed by Malte Bentzen, Void is the outcome of a research project that looked into abstract typographic shapes that are not defined by standard writing tools. Following interest from a number of designers who wanted to use the lettering, Bentzen developed the project into a complete typeface. Reminiscent of solvent molecules, Void’s shapes challenge the rational basis of the alphabet by exploring the combining of peculiar structural elements in the manner of aqua morphic modules. Through its high-contrast anomalous forms, the design of each letter that makes up Void has a balanced movement of ink that can be described as liquid geometry. Bentzen seamlessly combines a range of references from science fiction to 1990s visual culture to create Void’s visual language. Engineered both in a variable format and three static weights (thin, regular, and bold), Void excels in display applications and easily attracts attention with its organic texture.

08/07/2022

New Release: Artex

Bringing the neo-grotesque program into the realm of variable fonts, Artex is an innovative typeface designed by Valentin Brustaux. With its simplified forms tempering strict geometry, Artex proposes a distinctive graphic language in which modern efficiency meets contemporary technology.
Eager to design a typographic tool that would equally perform as static text blocks and motion graphics, Brustaux researched thoughtful, rational shapes that could optimize the quality of transitions between the extreme widths and weights of the program. Within its overarching modern architecture, Artex incorporates modular and symmetrical forms. These specific attributes improve sharpness in static uses and streamlines transitions as a dynamic font. Consequently, Artex develops a distinctive aesthetic that effortlessly attracts attention and makes for easy retention.
An extensible program—masterfully engineered in a variable format and 72 static fonts—Artex offers a full expansion of widths (from compressed to extended) and weights (from hairline to black). Each style includes 29 alternate glyphs, which provide a versatility in visual vocabulary and add dimension to any project.

02/02/2022

Extended Release: Programme Cyrillic and Greek

Programme Pan offers an extended character set, which supports languages that use Cyrillic and Greek alphabets, in addition to those which use the Latin alphabet. It provides accurate and genuine letterforms created for international communication.

Developed by the Swiss design studio Maximage, Programme is an innovative typeface which is based both on calligraphy and computer programming. The typeface was developed with the help of scripting technology.

26/01/2022

Programme Extension!

Broadening the range of capabilities, Programme is now expanded with the addition of two weights: “Thin” and “Black.” Developed by the Swiss design studio Maximage, Programme is an innovative typeface which is based both on calligraphy and computer programming. The typeface was developed with the help of scripting technology.

The project started from the rather raw idea that a font’s DNA is entirely contained in the calligraphic letters “o” and “n.” From these two glyphs, it was thought that a computer program could build the full Latin alphabet, since a typeface is actually made out of a limited set of shapes that are repeated in all of its characters. The typeface was eventually optimized for both text and display uses. In some cases, the imperfections of the program have not been retouched to preserve the type’s original essence. This is why Programme exists in a rougher style as well as in a more refined one

The first version of Programme was featured in JRP Ringier’ 2009 book Typeface as Program. The book provides an overview of a series of projects related to programming and type design, which took place at the École cantonale d’art de Lausanne (ECAL).

29/09/2021

Ten years after its release, we are thrilled to publish a substantial extension of Genath.

The typeface was first divided into two families “Genath Display” and “Genath,” and secondly, new weights (Thin and Extrabold) were added to extend its potential for editorial design.

Genath is a revival type, based on a 1720 specimen including Johann Wilhelm Haas’ first design for the Genath Foundry in Basel, Switzerland. Through his meticulous lens, François Rappo was able to create a streamlined digitalization of Baroque eclecticism and extravagance.

Like Joan Michaël Fleischmann, Johann Wilhelm Haas (1698–1764) trained in Nuremberg, likely with Johann and Pankraz Lobinger. Both Fleischmann and Haas epitomize a new typographic departure from the old styles cut during the Renaissance, a divergent situation specific to Northern Europe. It would later spread to Prague and to London, to a lesser extent. Following the death of the Genath Foundry’s proprietor, Johann Wilhelm Haas became its new owner and renamed the foundry, Haas’sche Schriftgiesserei. The foundry has been recognized as the most famous and oldest (1740–1989) type foundry in Switzerland, noted for the launch of Helvetica in the mid-1950s.

Truly “Baroque,” slightly condensed, and highly contrasting, Genath features playful and fancy details which will enhance any editorial work—from footnotes to headlines.

17/09/2021

A masterful extension drawn by the legendary Team’77, Media77 now comprises two families “Media77” and “Media77 Condensed” in addition to a new weight “Light” with its corresponding italic. Media77 Condensed’s weights range from Light to Medium providing a narrower visual texture that can accommodate lots of text in demanding editorial contexts.

A sleeping beauty from the modern Swiss typography tradition, Media has resurfaced in a newly digitalized version, four decades after it was first sketched. Created by the legendary Team’77, the typeface has been dexterously revitalized.

In 1974, André Gürtler, Christian Mengelt, and Erich Gschwind, known as Team’77, were commissioned by Bobst Graphic, in Lausanne, to draw a text typeface specifically for phototypesetting technology. Rather than a constraint, Team’77 thought that the technical parameters of the composing system could result in interesting typographic solutions, detached from historical classifications: not another replica, but the design of a contemporary typeface with a modern purpose. Media was originally released by Bobst Graphic in 1977, after which it was immediately featured in issue no. 8/9 of Typographische Monatsblätter (TM).

Forty years later, the redrawing of Media by the original members of Team’77 showcases their mastery: an extraordinarily sophisticated typeface with a unique aesthetic, very legible at small sizes, and full of refined details at display sizes.

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