Bookmania Font Family
Margaret Sigars
Bookmania Serif Font is a modern serif with lots of ornamental alternatives that allows you to design expressive logos or titles for all types of your projects. With over 680 swash characters, more than any previous Bookman, the possibilities are endless. The broad range of weights make it great for display use, but it also works well for text. Unlike some Bookman revivals, it retains the original classic sloped roman for the italic. Bookmania includes all the features you would expect in a modern digital font family.
Mark Simonson Studio is home to a range of typefaces that are as thoughtful and unique as their namesake, Mark Simonson. Each distinctive family of fonts is created as a tool for making things, not ends in themselves. For graphic designers and typographers, this means that each detail included was well-considered and will help your work look its very best. Whether display or text, sans, serif, or script, there is a perfectly suitable typeface that will fulfill every need in your design brief.
Bookmania (2011) combines the sturdy elegance of the original Bookman Oldstyle (1901) with the swashy exuberance of the Bookmans of the 1960s. With over 680 swash characters, more than any previous Bookman, the possibilities are endless. The broad range of weights make it great for display use, but it also works well for text. Unlike some Bookman revivals, it retains the original classic sloped roman for the italic. Bookmania includes all the features you would expect in a modern digital font family.
The subject line pretty much says it all. I would really like it if Adobe Fonts provided the option for users to see all of the glyphs in a particular typeface before syncing them to their computers. Online type vendors, such as MyFonts, often allow viewers to see a full glyph table of a selected typeface, along with listing the number of glyphs in the font file, specific OTF features (such as native small capitals), etc. A couple of the free fonts sites, like Font Squirrel, will at least allow users to see a glyph table.
Currently I'll often hop back and forth between Adobe Fonts' Browse Fonts section and the MyFonts web site to see font details not listed at Adobe Fonts, such as a glyph table. That practice has its own pitfalls. Awhile back I synced the Mislab type family, thinking it had all the features I saw over at the MyFonts web site. It turns out I was looking at Mislab Pro but synced Mislab Std. So it was missing a bunch of the "pro" features (like native small caps) found in Mislab Pro. If I had a glyph table see for fonts within the Adobe Fonts web site that would prevent such confusion.
Another thing is a full glyph table can show off just how radically developed (and useful) a certain typeface can be. Take Bookmania for instance: over 3000 glyphs for each face. What Mark Simonson did with that family is just incredible. A glyph table can show off the possibilities of elaborate connected scripts, such as those from Laura Worthington.
Being able to view the glyph table for a font prior to installing it is a great idea. Even though we can now sync any number of Adobe Fonts with our Creative Cloud subscription in InDesign, Illustrator or Photoshop and view it in the corresponding glyphs panel, it's while we're at that we are actually auditioning fonts for use in your designs. And while the Sample Text option is also very, very helpful, it doesn't reveal all of the glyphs that are available for use in any given font.
Hmmm... unfortunately, it doesn't look like users can provide feature requests for Adobe Fonts in the same way they can for Photoshop, After Effects and Illustrator. If I ever come across someone from the Adobe Fonts team, I'll be sure to mention this.
Thanks for sharing your feedback with us. If you have a minute, it would be great if you could copy your suggestion into a new idea on our UserVoice page, which is the best place to get attention from the product team.
Frequently delving into the typographic past, Mark Simonson can masterfully translate the look and feel of vintage designs into a modern context. This time around, he has outdone himself with his gargantuan type family, Bookmania.
In the end, Bookmania gives relevance to a classic design making it perfectly usable by modern design standards. The family consists of five weights, italics (sloped as in the originals), and an astounding 3177 glyphs per font! Its combination of historical research, intelligent design, and comprehensive features makes this the one Bookman to rule them all!
Founded in 2002, Typographica is a review of typefaces and type books, with occasional commentary on fonts and typographic design. Edited by Stephen Coles and Caren Litherland and designed by Chris Hamamoto.
Bookmania by Mark Simonson, is a family 10 fonts (five weights with italics), and literally hundreds of swashes. This is the most thorough and careful expansion of the classic Bookman swash that I know of. Amazing.
Mostra Nuova is based on a style of lettering often seen on Italian Art Deco posters and advertising of the 1930s. The geometric font has subtle optical adjustments to give it a softer appearance. Mostra Nuova contains many alternate characters, representing commonly-found variations in Italian Art Deco lettering. They can be used in endless combinations to capture a particular mood or style. The family includes nine weights, and features an extended Latin character set (most Western and Eastern European Latin-based languages supported) and support for Cyrillic (including local variants for Bulgarian, Serbian, and Macedonian).
Goldenbook is based on the logotype of a literary magazine from the late 1920s called The Golden Book Magazine. An art deco take on the classic Roman letterforms, this lowercase font is meant to be used in a large size and is often seen on book covers. Goldenbook includes fonts with both old style and lining numerals in each weight and provides support for Cyrillic, as well as other interesting typographic features such as an alternate ampersand and a long-tailed capital R.
Coquette is an unconnected, upright script combining elements of the traditional French script and geometric sans serif styles. The result is at once novel and familiar, evoking both vernacular and commercial lettering of the mid-20th Century without being derived from any specific existing source. First released in 2001 in three styles (Light, Regular, and Bold), the font family was updated in 2017 to add three new styles (Thin, ExtraBold, and Black) and several new features including alternate characters, OpenType fractions, superscript, f-ligatures and math characters. Coquette has been adopted for a wide range of uses, including packaging, shop displays and book covers.
Acme Gothic (2018) is based on the thick-and-thin gothic lettering style popular in the U.S. in the first half of the twentieth century. There have been typefaces in this genre before, but they were either too quirky (Globe Gothic), too English (Britannic), too Art Deco (Koloss), too modern (Radiant), or too Art Nouveau (Panache). None captures the plain, workman-like, vernacular style of Acme Gothic. The font family offers 25 different styles and extensive language support that covers most Latin-based writing systems. Acme Gothic also includes both small caps and raised small caps (accessed through an OpenType stylistic set) both of which can be found in vintage examples of this lettering style.
Prolific type designer (and UPPERCASE subscriber!) Mark Simonson has released a tour-de-force typographic family. A revival based on Bookman Oldstyle (1901), this Opentype release called Bookmania has a crazy number of alternates and swashes, as witnessed above, as well as weights from light to black plus italics.
Allow me to date myself: The very first "font" I ever purchased was Bookman: the Letraset version! My grandfather had commissioned me to design a logo for a cultural organization. Though desktop publishing was just becoming viable at this point, as a young highschool girl, I didn't have those skills and needed "professional-looking" (at least to my inexperienced eyes) letters for the design. The local art supply store had a wealth of amazing dry transfer letters from which I could choose. I remember standing there for quite some time before I settled upon Bookman. Drawn to its pretty capitals and classic looks, I paid a huge sum ($25?) for one sheet of letters. Next time I'm home visiting my parents I'll see if I can unearth the design. It would be good for a laugh! (And perhaps someday I'll share my typographic shame... Mistral.)
Bookmania Bold belongs to the Bookmania type family by Mark Simonson. It revives the classic Bookman Oldstyle and infuses it with the swashy flair of Bookman fonts from the 1960s. The result is a robust font family with five weights, modern digital features, and over 680 swash characters.
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