Film Art An Introduction 12th Edition
Hadda Condino
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.
The UW brand includes three alternative fonts meant to add additional elements and variety to our materials. These fonts should be used to complement our primary fonts, rather than replace them. They can be used as headlines or as graphical text elements, as in the examples below. Similar to how our accent colors our used, alternative fonts should make up no more than 15% of any material.
When working within Microsoft Office programs, including Word and PowerPoint, we recommend using the below system fonts in place of our primary fonts. When you include a font that is not a standard system font, the recipient of that document will only see that font if they also have it downloaded.
Bookman, or Bookman Old Style, is a serif typeface. A wide, legible design that is slightly bolder than most body text faces, Bookman has been used for both display typography, for trade printing such as advertising, and less commonly for body text. In advertising use it is particularly associated with the graphic design of the 1960s and 1970s, when revivals of it were very popular.[1]
Bookman evolved from fonts known as Old Style Antique, released around 1869. These were created as a bold version of the "Old Style" typeface, which had been cut by Alexander Phemister around the 1850s for the Miller & Richard foundry and become a standard, popular book typeface.[2][3][4] Old Style Antique has letterforms similar to those of the eighteenth-century typeface Caslon, with a more even and regular structure, a wide and tall lower-case, and little contrast in line width.
Bookman is much bolder than the original Old Style, to which it was intended to be a bold complement, almost to the point of being a slab serif, and evolved its own identity, with American Type Founders giving it its own name and a distinctive set of swash characters, with which it is often associated.[5][6][a] The 1924 textbook Introduction to Advertising described Bookman as having "the impression of reliability without heaviness".[7][8][9]
The ancestor of Bookman Old Style is Miller & Richard's "Old Style", cut by Alexander Phemister. Often described as "modernised old style", it is a redesign of "true old-style" serif faces from the eighteenth century such as Caslon. Like them, it has sloping top serifs and an avoidance of abrupt contrasts in stroke widths. The lower-case letters are quite wide and the x-height (height of lower-case letters) is quite large.[13][14][15][16][d] Widely resold and pirated, it became a standard typeface and helped to create a genre of a wide range of loose revivals and adaptations of the Caslon design, visible in the wide-spreading arms of the T and the sharp half-arrow serifs on many letters. (Ronaldson Old Style by Alexander Kay (1884) was another, as was Phemister's own later Franklin, created after he had emigrated.[19][20])
The direct ancestor of Bookmans were several fonts from around 1869 named "Old Style Antique" intended as a bold complement to the original Old Style face. "Antique" was a common name given to bolder typefaces of the time, now often called slab serifs, and identifies the aim of creating a complementary bolder design on the oldstyle model for uses such as emphasis and headings. However, the old style antique fonts also became used for extended body text use.[21][e] Although Old Style Antique faces were bolder than Old Style, the difference was not great enough that they could not be used for body text.[5]
A bold Old Style was needed. This was indeed produced, almost simultaneously in Philadelphia and in Edinburgh [around 1869] in two distinct designs, both under the name of Old Style Antique. The term 'Antique' probably refers less to historical forms than to the boldness and the stubby serifs of the Egyptians [slab serifs], which were also called antiques. In the 1890s, when such faces as Caslon and Jenson had introduced the notion that all historic romans were bold, their colour and old-style basic forms made the old-style Antiques in the words of De Vinne...'now often used as fair substitutes for older styles of text types,' regardless of their unhistoric origin.[21] The course of development is difficult to trace.
These designs, for MacKellar, Smiths, & Jordan Co. in Philadelphia and Miller & Richard in Edinburgh were then copied and extended by a series of American type foundries, according to Ovink in a mixture of sizes based on the two foundries' designs. (During the period many fonts once created were copied by other foundries, in some cases probably illegally by electrotyping, making the evolution of styles complicated to track.) Ovink describes the MacKellar, Smiths, & Jordan Oldstyle Antique as being different for being slightly less bold and having an 'a' with a rounded top and a 'T' with slight curves on top.[24] Theodore De Vinne wrote of the style in 1902 that it was "in marked favour as a text letter for books intended to have more of legibility."[28] As Ovink notes, Old Style Antique was used by historically minded printers to emulate the solid style of fifteenth-century typefaces, and in particular to emulate the custom Golden Type used by William Morris at his Kelmscott Press.[26][3] Printers of the period noted the confusion of the apparently tautologous name,[5] one saying that it reminded him of a joke about a man who ordered caf au lait with milk.[26]
By 1903 Old Style Antique was sold by American Type Founders under the new name of Bookman Old Style, with an added 'italic'. ATF did not offer a normal italic, instead featuring an oblique, or "sloped roman", in which the letters are simply slanted. Serif typefaces which use an oblique are now quite rare, but the style was relatively common for display typefaces in the nineteenth and early twentieth centuries. It was sold with some swash capitals and other letters. Although one critic described its swash letters in 1913 as "ridiculous", they would become a popular feature of revivals and derivatives.[5]
Chauncey H. Griffith of the Mergenthaler Linotype Company developed a revival for Linotype's hot metal typesetting system (which was named "Bookman"), and Monotype also offered one.[36][37][g] (Linotype's has been digitised by Bitstream based on its design from this period form, making it one of the few digital versions not based on post-war versions.[39][40]) Other Old Style Antique releases were common in American printing during the nineteenth and twentieth centuries.
Many Bookman revivals appeared for phototypesetting systems in the 1960s and 1970s, often including an extensive repertoire of swash characters, meaning that the design is commonly associated with the graphic design of the period.[1] These large character repertoires took advantage of the new phototypesetting technology, which allowed characters to be stored on film or glass phototype master disks and printed at any desired size, rather than bulky metal type.[41] Letraset created one revival during this period.[42] The separation of type designs from the complex manufacturing process of metal type also allowed for easier cloning of typefaces, meaning that many fonts sold during the period were unauthorised copies or modifications of other companies' designs.
ITC Bookman is a revival designed by Ed Benguiat in 1975, for the International Typeface Corporation. Benguiat developed a full family of four weights plus complementary cursive designs: unlike previous Bookman versions, these are true italics in which the letters take on handwriting forms. Benguiat also drew a suite of swash and alternate characters for each of the members of the family. While Bookman's x-height was quite high already, this enlarges the lower-case even more, in the fashion of the period. Fonts for swash and alternate characters were eventually released in OpenType versions of the fonts,[44] or separately as ITC Bookman Swash.
ITC licensed the design to Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language as part of the Adobe PostScript 3 Font Set.[43] (The weights licensed were Light, Light Italic, Demi, Demi Italic.)
Because of ITC Bookman's status as a basic part of the Postscript standard, many modern Bookman revivals and variants were created as a "metrically identical" alternative, or copy it due to its popularity. These include 'Revival 711' by Bitstream, and 'BM' by Itek.
The current Monotype version of Bookman is called Monotype Bookman Old Style or marketed as Bookman Old Style. It was designed by Ong Chong Wah. It is based on earlier Lanston Monotype and ATF models, but again was redesigned to match the ITC version. It is bundled with many Microsoft products, making it one of the most commonly used versions of Bookman.[45]
In Monotype Bookman the italic was redrawn to be a true italic similar to ITC Bookman. Though the face's name includes the phrase 'Old Style', the near-vertical stress of the face places it more in the transitional classification. This version include support of Cyrillic, Greek, and extended Latin characters.
URW++ donated their PostScript alternative, known as URW Bookman L, to the Ghostscript project as a free software replacement for the ITC version. It was further enhanced by the Polish GUST foundry as part of their TeX Gyre project and named Bonum.[47][48]
Jukebox Bookman is a revival of the original Bookman family, designed by Jason Walcott and originally published by Veer. Veer(Corbis) closed permanently in early 2016 but the Jukebox Bookman fonts continue to be offered online through other digital type vendors. [49]
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