& Bookmania

A Fresh Revival
of an Old Classic
from
Mark SimonSon
Studio

Light
Light Italic
Regular
Regular Italic
Semibold
Semibold Italic
Bold
Bold Italic
Black
Black Italic
Why?
One might wonder: Why bother? Bookman has
had its day. It’s a has-been. Some might argue that
it’s no great loss. But I believe it’s a typographical
gem that’s never been properly revived.
ITC’s redesign in the Seventies took it so far from
its roots that it should have been called something
else. But that’s the “Bookman” we’ve been stuck
with—like it or not—for a long time. The original,
for the most part, has been lost to us. My aim was
to go back to the earlier Bookmans and make a
typeface that would restore the dignity (as well as
frivolity) that was lost.
As with any revival, it’s an interpretation. I’ve
leaned heavily toward the more refined look of the
display sizes of the older Bookmans. Nevertheless,
it also works well for text, although the effect is
different than the old Bookmans at smaller sizes.
(I hope to do a Bookmania Text someday that has
the look and feel of the old text sizes.)
I tried to picture what ATF’s Morris Fuller Benton
would have done if he had developed Bookman
Oldstyle the way he did Cheltenham Oldstyle.
Bookman Oldstyle (and most later Bookmans) had
a certain unpolished look. There is some charm to
this, but I wanted to see the same fit and finish that
Benton gave to his Cheltenham and Century faces.
Like traditional Bookmans, the italic is a slanted
roman. But it’s not just slanted. It’s optically
corrected to eliminate the unavoidable distortion
that comes from simply slanting the characters.
I considered giving it a “cursive” italic, but it
wouldn’t look like Bookman if I did, so I kept the
slanted roman. It does have the advantage of being
easier to read than cursive italics.
What would a Bookman revival be without the
swashes? I looked at all the different ones that
were added over the years and decided to do an
anthology of the best. I added a few of my own
ideas, but tried to keep them as much in the spirit
of Bookman swashes as I could.
One thing that has been lacking in previous
Bookmans is typographic “niceties.” With this in
mind, I added small caps, old style figures, tabular
and proportional figures, swash ligatures, and—
why not?—swash small caps.
The range of weights in the earlier Bookmans
varied a lot. The earliest ones had just a “regular”
weight. Sometimes a boldface was added. Some in
the film font era had more weights. The ITC version
had four. Bookmania is similarly weighted, but with
one more on the light end for a total of five weights:
Light, Regular, Semibold, Bold, and Black.
Some characters differ between roman and
italic: g, g, &, &, $, $. I’ve included the counterpart
variation as an option in each style. There are also
a few lowercase alternates to give Bookmania
a more contemporary-looking italic. Finally,
I added COMMONCASE CAPS, which are seen
in some type revivals in the Sixties, inspired by
Bradbury Thompson’s AlphAbEt 26.
All features (even the swashes) are included in
all weights and styles.
 Bookmania Light
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Regular
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Semibold
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Bold
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Black
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Light Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Regular Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Semibold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Bold Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
Bookmania Black Italic
ABCDEFGHIJKLMNOPQRSTUVWXYZ
ABCDEFGHIJKLMNOPQRSTUVWXYZ
abcdefghijklmnoprstuvwxyz
0123456789 01�23456789..&&& #%‰ $¢€£
.,:;…'"‘’“”‚„* † ‡ ¶§@!¡?¿()[]{} - – — «»‹›•·
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 swashes alternate characters

Markers small caps

Question 17
becomes becomes case-sensitive forms

Markers Terra Firma Question �7 [X-ray]

AMaRKerS
feW or becomes

terra firma &&&

also
becomes

RandOm or [X-RAY]

Features
or
Terra Firma discretionary ligatures

MARKERS
ligatures

tabular &
Past Perfect Affluent Office
proportional figures becomes

Past Perfect
becomes
old style figures
1967 & 1967 or Affluent Office
1967 become
PRACTICE
becomes
1967 & 1967 historical forms

1967
becomes

fractions PRACTICE Congress

becomes
commoncase caps
44/100 alternate ligatures Congreſs
REMAIN becomes
Theatre
becomes
44/100 becomes
jenson “E”

REMAIN �eatre Tennessee

optional “cursive” characters becomes
or

imaginary �eatre Tennessee

becomes or

imaginary �eatre
 CAPS:
AAAAAAAAAAAAAAAAAAAAAAAAAAAA
ÆÆÆÆÆ BBBB CCCCC C CC � � � DDDDD
EEEEEEEEEE FFFFFFF GGGG HHHHH H HH
II JJJ KKKKKKKKKKKKK K K K KK��
LLLLL LLLLL LLLL��L L

Boatloads
MMMMMMMMMMMMMMMMMMM
NNNN N NNNNNNN N NNNN O�OO ŒŒ PP P
QQQQQ RRRRRR�� SSSSSS ẞẞẞ

of Swashes.
TTT T T TT T � � ���� UUUU UU U U U
VVVV VV V VVVVV WWWW WW W WWWWW
XXXXXXXXXXXXXXX XXXXXX

(Don’t Worry. You

YYYY Y YYYYYY ZZZ� &&& ÞÞÞÞ

Small caps:

Don’t Have to
AAAAAAAAAAAAAAAAAAAAAAAAAAAA
ÆÆÆÆÆ BBBBCCCCC C C DDDDD EEEEEEEEEE FFFFFFF
GGGG HHHHHH II JJJ KKKKKKKKKKKKKKKK��
LLLLLLLLLL LLLL�� MMMMMMMMMMMMMMMMMMM

Use Them.*)
NNNNNN NNNNNNN O�OO ŒŒ PP P QQQQQ RRRRRR��
SSSSSS ẞẞẞ TTT TT TTT� UUUUUUU VVVVVVVVVVV
WWWWWWWWWWW XX XXXX XXXXXXXXX X X X X
YYY Y YYYYY ZZZ� &�� ÞÞÞÞ
*Well...maybe just a little bit.

Lowercase:
aaaa ææ bb b cccc��� ddd eeeeeeee
fff f f ff ff ff ff ff ff fififi fi fi flflfl fl fl fl fl ffi ffi ffi ffi ffi ffi ffl ffl ffl ffl ffl ffl ffl ffl
ggggg g g gg g g �gg hhhhhhhhh ii� jjj j j kkk k kkkkkkkk
ll l l mmmmmm nnnnnn o�oo� œœ pppp qqqq q rrrrrırr
ssss s sss s s�stst st ßßßß tt t t tttt uu vvvv wwww
xxxxxxxxx yyy y yyyyy zzzz þþþþþ þ
 &
Okay! Xavier
Anne

Waffles
Rosemary & Thyme
Alex
Alice

$25
Amy

Diet forCalifornia
Alec

�776
Amanda
AFRICA

&
Anthony
Abigail
Andy
{Figure A}
a Smallẞ
Nicety Planet
Aaron

FRANCE
G
April
Allen
Ada WHO’S
Alfred
Alexis
AFRAID of �e
VIRGINIA ROYAltYMusic Lover’s

Energy
OurTASTY
Adam
WOOLF? Album

Q&A
Amelia
HOT, HEALTH

&
Archie

Tıme PIZZA
Angela
Arthur
Annette JOURNAL
Sensuous Christmas
Alvin
Aretha
Abraham
Adrianne
Miller & Richard’s Antique Old Style (1858)
ATF Bookman Oldstyle (c. 1901)
The
Bookmania
Story.
In early 2006, I did a custom font for a
client based on the old display font,
Bookman Bold Italic with Swash. Along
with Bookman Bold with Swash, it
originated sometime in the mid-1960s. I
have so far been unable to find out who
designed and produced it. I think of it as
the “Sixties Bookman.”
Sixties Bookman was widely available
by 1970 in film fonts, as well as rub-down
and cut-out type. Letraset catalogs credited
the design to Miller & Richard, a Scottish
type foundry. This is stretching the truth a
bit. Miller & Richard did produce a face
around �858,
a precursor to Bookman Oldstyle, called
Antique Old Style No. 7. Designed by
A. C. Phemister, it was a heavy variation
of a face called “Old Style.” (Nineteenth-
century Old Style faces were essentially
Sol Hess’ New Bookman (1927)
What I call “Sixties Bookman” (c. 1965)
modern interpretations of Caslon’s types.)
It differed from the later Bookman Oldstyle
in many details.
Other foundries imitated the design.
The Bruce Foundry did Old Style Antique
#310 and followed in �90� with an improved
version called Bartlett Oldstyle. Shortly
after, The Bruce Foundry joined American
Type Founders and Bartlett Oldstyle was
renamed “Bookman Oldstyle.”
The new name came from Wadsworth
A. Parker, who is also credited with adding
the first few swash characters to Bookman,
six in the roman and nine in the italic.
Bartlett/Bookman Oldstyle seems to have
originated the “slanted roman” italic that
has been a characteristic feature of all
Bookmans (with two recent exceptions).
Bookman Oldstyle was adapted to
Monotype casters in �909. Other foundries
copied it, including Ludlow, which added a
different set of swash characters. Sol Hess
designed New Bookman for Monotype in
�927, a more refined version with wedge-
shaped serifs. Monotype and Barnhart
Brothers & Spindler produced their own
“Bold” and “Bold Condensed” styles.
However, none of these earlier metal
faces could be mistaken for Sixties
Photo Bookman & neo-Bookman (c. 1960s)
Meola Bookman (c. 1970)
Bookman. It’s closest to the larger sizes of
ATF Bookman Oldstyle, but significantly
bolder, with more contrast between the
thicks and thins than other Bookmans and
with smaller serifs. Sixties Bookman
expanded on ATF Bookman’s modest but
distinctive swash character repertoire with
25 in the roman and 47 in the italic.
One unfortunate thing about Sixties
Bookman’s italic is that most of the
characters are slanted mechanically, with
no optical correction. VGC, maker of the
Typositor, created their own version using
the same name, but with optically correct
italics and a somewhat different set of
swash characters.
Other Bookmans appeared in film type
and process lettering from houses such as
Photo-Lettering (Photo Bookman) and
Headliners International (neo-Bookman).
Photo Bookman is basically Bookman
Oldstyle with “mod” swash letters.
Neo-Bookman is more closely based on
Sixties Bookman, but with five weights.
Another design, called Meola Bookman,
had �97 rather clumsily-drawn swash
characters, and only a single weight.
By �970, the most ubiquitous Bookman
was Sixties Bookman. Where did it come
Book covers (c. 1960s & 1970s)
From a United Airlines ad (1967)
from? I’ve yet to see a credit for the
designer or maker of this version. The best
theory I have is that it was a custom font
created for ad campaign in the mid-sixties.
Someone who had access to it made
copies. And before long, every typesetting
shop had it. Whatever the story is, this
version of Bookman was everywhere. I had
Sixties Bookman on rub-down type sheets
when I was in high school in the early
Seventies discovering type.
In �975, ITC released ITC Bookman (four
weights, with italics), designed by the
talented Ed Benguiat. ITC Bookman was a
bold departure from previous versions. The
lowercase height was enlarged (in keeping
with the fashion of the time), the swashes
were more reserved, and—significantly—it
had a “cursive” italic, instead of the slanted
roman of earlier Bookmans. This italic was
not related to the style used in Bookman’s
Antique Old Style ancestors, which were
more like the italics of Caslon or Century
Old Style. Instead, it is more like the italics
of Bodoni or Century Schoolbook.
By the end of the �970s, ITC Bookman
was a hit and was eclipsing the older
Bookmans, including Sixties Bookman.
When it was chosen as one of the fonts
ITC Bookman (1975)
Book covers, etc. (c. 1960s & 1970s)
included on Apple’s LaserWriter II in the
mid-�980s—making it one of the earliest
fonts available for desktop publishing—the
eclipse became total.
To make matters worse (at least for fans
of the old Bookmans), Monotype created
Bookman Old Style, a family of fonts with
the same metrics and proportions as ITC
Bookman. In the details, it looks more like
the old Bookmans, but it has a similar
“cursive” italic and enlarged lowercase.
Between them, ITC Bookman and
Bookman Old Style have taken over the
Bookman “space” in the minds of most
designers, and the older—and I’d say
handsomer—Bookmans are scarce to
nonexistent in the digital font world.
Much of this was on my mind when I was
digitizing Sixties Bookman for my client.
Such a cheesy old typeface, I thought, but it
sure is fun drawing these swashes....
Then I had a thought. What if I took two
of the best old Bookmans—Bookman
Oldstyle (specifically, the larger sizes) and
the mysterious but ubiquitous Sixties
Bookman, and did a revival based on them?
Completely redrawn and refined—not a
facsimile of the old fonts. With every
Monotype Bookman Old Style (c. 1986)
Bookmania
ABCDEFGH
abcdefghijkl
1234567&&
12345678&
Bookmania (2011)
previous swash character ever concocted
for Bookman (within reason) and as many
new ones as I can think of. Small caps, old
style figures. Swash small caps. Plenty of
weights. Ligatures. Swash ligatures! I was
experiencing “Bookmania.”
682 swash characters later, it’s finished.
I fear I may have gone too far with the
swashes, but I don’t regret it. Bookmania is
my love letter to the classic Bookmans. It’s
a kind of throwback (ITC Bookman was
progress, right?), but it’s also brand new,
&
designed for the digital age.
And, really, you can completely ignore
those gawdy swashes if you like, and
appreciate the quiet dignity of plain old
Bookmania.
Or not.
 Bookmania
Light & Light Italic
B O O KM ANI A LI GHT & LI GHT ITALIC
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLICHÉ
1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates 5.
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s Book
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLICHÉ
1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates 5.
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s Book
1 8 O N 2 0 P OI NT
what  is  the essence of the vaunted metric
system? Not its unit of measurement, certain
ly. That is founded on an admittedly erroneou
s geographic measure. It lies in its consistent
use of the one decimal division in all measur
es of length, superficies and capacity. From th
e highest to the lowest, all values may be exp
ressed in one series of figures, divided where
1 4 ON 1 6 POI NT
what i s t  he essence of the vaunted metric system? Not i
ts unit of measurement, certainly. That is founded on an a
dmittedly erroneous geographic measure. It lies in its con
sistent use of the one decimal division in all measures of l
ength, superficies and capacity. From the highest to the lo
west, all values may be expressed in one series of figures,
divided where required by the decimal point. All vulgar fr
actions, no matter how convenient, have to give way to thi
1 2 ON 1 3 POI NT
what  is  the essence of the vaunted metric system? Not its unit of
measurement, certainly. That is founded on an admittedly erroneou
s geographic measure. It lies in its consistent use of the one decimal
division in all measures of length, superficies and capacity. From th
e highest to the lowest, all values may be expressed in one series of
figures, divided where required by the decimal point. All vulgar fract
ions, no matter how convenient, have to give way to this method. We
1 0 O N 1 1 P O IN T
what i s t  he essence of the vaunted me
tric system? Not its unit of measurement,
certainly. That is founded on an admitte
dly erroneous geographic measure. It lie
s in its consistent use of the one decimal
division in all measures of length, super
ficies and capacity. From the highest to t
he lowest, all values may be expressed i
n one series of figures, divided where re
quired by the decimal point. All vulgar fr
actions, no matter how convenient, have
to give way to this method. We must not
write 1/2, but .5. A system of type standar
ds based on this scheme must necessari
8 O N 9 P O IN T
what  is  the essence of the vaunted metric syst
em? Not its unit of measurement, certainly. That i
s founded on an admittedly erroneous geographi
c measure. It lies in its consistent use of the one d
ecimal division in all measures of length, superfic
ies and capacity. From the highest to the lowest, a
ll values may be expressed in one series of figure
s, divided where required by the decimal point. All
vulgar fractions, no matter how convenient, have t
o give way to this method. We must not write 1/2, b
ut .5. A system of type standards based on this sc
heme must necessarily have a decimal fraction of
the meter as its base, and be divided decimally. A
Duodecimal division of the meter would be absur
6 O N 7 P O IN T
what  is  the essence of the vaunted metric system? Not its unit of
measurement, certainly. That is founded on an admittedly erroneou
s geographic measure. It lies in its consistent use of the one decimal
division in all measures of length, superficies and capacity. From the
highest to the lowest, all values may be expressed in one series of fig
ures, divided where required by the decimal point. All vulgar fraction
s, no matter how convenient, have to give way to this method. We m
ust not write 1/2, but .5. A system of type standards based on this sch
eme must necessarily have a decimal fraction of the meter as its ba
se, and be divided decimally. A Duodecimal division of the meter wo
uld be absurd enough—it would be the old inch and foot in another f
orm. Still more absurd would be the grafting on the beautiful decim
al simpli c ity of the metric system such exceeding ly vulga r fracti on s
Bookmania
Regular & Regular Italic
B O O K MA NI A R E G UL A R & R E G UL A R I TA L I C
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLICHÉ
1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates 5.
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s Boo
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLICHÉ
1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates 5.
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s Boo
1 8 O N 2 0 P O IN T
what  is  the essence of the vaunted metric
system? Not its unit of measurement, certai
nly. That is founded on an admittedly errone
ous geographic measure. It lies in its consis
tent use of the one decimal division in all m
easures of length, superficies and capacity.
From the highest to the lowest, all values m
ay be expressed in one series of figures, div
1 4 O N 1 6 PO I NT
what i  s t
  he essence of the vaunted metric system? Not
its unit of measurement, certainly. That is founded on an
admittedly erroneous geographic measure. It lies in its co
nsistent use of the one decimal division in all measures o
f length, superficies and capacity. From the highest to the
lowest, all values may be expressed in one series of figure
s, divided where required by the decimal point. All vulgar
fractions, no matter how convenient, have to give way to t
1 2 O N 1 3 PO I NT
what  is  the essence of the vaunted metric system? Not its uni
t of measurement, certainly. That is founded on an admittedly e
rroneous geographic measure. It lies in its consistent use of th
e one decimal division in all measures of length, superficies an
d capacity. From the highest to the lowest, all values may be exp
ressed in one series of figures, divided where required by the de
cimal point. All vulgar fractions, no matter how convenient, have
1 0 O N 11 P O I NT
what  is  the essence of the vaunted m
etric system? Not its unit of measurem
ent, certainly. That is founded on an ad
mittedly erroneous geographic measur
e. It lies in its consistent use of the one
decimal division in all measures of len
gth, superficies and capacity. From the
highest to the lowest, all values may be
expressed in one series of figures, divid
ed where required by the decimal poin
t. All vulgar fractions, no matter how c
onvenient, have to give way to this met
hod. We must not write 1/2, but .5. A sys
tem of type standards based on this sc
8 ON 9 P O I NT
what i  s t
  he essence of the vaunted metric syste
m? Not its unit of measurement, certainly. That is
founded on an admittedly erroneous geographic
measure. It lies in its consistent use of the one de
cimal division in all measures of length, superfici
es and capacity. From the highest to the lowest, a
ll values may be expressed in one series of figure
s, divided where required by the decimal point. Al
l vulgar fractions, no matter how convenient, have
to give way to this method. We must not write 1/2,
but .5. A system of type standards based on this s
cheme must necessarily have a decimal fraction
of the meter as its base, and be divided decimally.
A Duodecimal division of the meter would be ab
6 ON 7 P O I NT
what  is  the essence of the vaunted metric system? Not its uni
t of measurement, certainly. That is founded on an admittedly e
rroneous geographic measure. It lies in its consistent use of th
e one decimal division in all measures of length, superficies an
d capacity. From the highest to the lowest, all values may be exp
ressed in one series of figures, divided where required by the de
cimal point. All vulgar fractions, no matter how convenient, have
to give way to this method. We must not write 1/2, but .5. A syste
m of type standards based on this scheme must necessarily hav
e a decimal fraction of the meter as its base, and be divided dec
imally. A Duodecimal division of the meter would be absurd eno
ugh—it would be the old inch and foot in another form. Still mor
e absurd would be the grafting on the beautiful decimal simplicit
 Bookmania
Semibold & Semibold Italic
B O O KM ANI A SEM I BOLD & SEMIBOLD ITALIC
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLICH
1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates 5.
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s Bo
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLICH
1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates 5.
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s Bo
1 8 O N 2 0 P OI NT
what  is  the essence of the vaunted metri
c system? Not its unit of measurement, cer
tainly. That is founded on an admittedly er
roneous geographic measure. It lies in its
consistent use of the one decimal division
in all measures of length, superficies and c
apacity. From the highest to the lowest, al
l values may be expressed in one series of
1 4 ON 1 6 POI NT
  he essence of the vaunted metric system? No
what i  s t
t its unit of measurement, certainly. That is founded on
an admittedly erroneous geographic measure. It lies i
n its consistent use of the one decimal division in all m
easures of length, superficies and capacity. From the h
ighest to the lowest, all values may be expressed in on
e series of figures, divided where required by the deci
mal point. All vulgar fractions, no matter how conveni
1 2 ON 1 3 POI NT
what  is  the essence of the vaunted metric system? Not its unit
of measurement, certainly. That is founded on an admittedly err
oneous geographic measure. It lies in its consistent use of the o
ne decimal division in all measures of length, superficies and ca
pacity. From the highest to the lowest, all values may be express
ed in one series of figures, divided where required by the decim
al point. All vulgar fractions, no matter how convenient, have to
1 0 O N 1 1 P O IN T
w h at  i s  t h e e s s e n c e o f t h e v a u n t e d
metric system? Not its unit of measur
ement, certainly. That is founded on a
n admittedly erroneous geographic m
easure. It lies in its consistent use of t
he one decimal division in all measur
es of length, superficies and capacity.
From the highest to the lowest, all val
ues may be expressed in one series o
f figures, divided where required by th
e decimal point. All vulgar fractions, n
o matter how convenient, have to give
way to this method. We must not writ
e 1/2, but .5. A system of type standard
8 O N 9 P O IN T
what i  s t
  he essence of the vaunted metric syst
em? Not its unit of measurement, certainly. Tha
t is founded on an admittedly erroneous geogra
phic measure. It lies in its consistent use of the
one decimal division in all measures of length,
superficies and capacity. From the highest to th
e lowest, all values may be expressed in one se
ries of figures, divided where required by the d
ecimal point. All vulgar fractions, no matter ho
w convenient, have to give way to this method.
We must not write 1/2, but .5. A system of type st
andards based on this scheme must necessaril
y have a decimal fraction of the meter as its bas
e, and be divided decimally. A Duodecimal divis
6 O N 7 P O IN T
what  is  the essence of the vaunted metric system? Not its unit
of measurement, certainly. That is founded on an admittedly err
oneous geographic measure. It lies in its consistent use of the o
ne decimal division in all measures of length, superficies and ca
pacity. From the highest to the lowest, all values may be express
ed in one series of figures, divided where required by the decim
al point. All vulgar fractions, no matter how convenient, have to
give way to this method. We must not write 1/2, but .5. A system
of type standards based on this scheme must necessarily have a
decimal fraction of the meter as its base, and be divided decima
lly. A Duodecimal division of the meter would be absurd enoug
h—it would be the old inch and foot in another form. Still more
absurd would be the grafting on the beautiful decimal simplicity
Bookmania
Bold & Bold Italic
B O O K MA NI A B O L D & B O L D I TA L I C
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLICH
1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates 5.
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s B
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLICH
1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates 5.
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s B
1 8 O N 2 0 P O IN T
what is the essence of the vaunted metric
system? Not its unit of measurement, certai
nly. That is founded on an admittedly erro
neous geographic measure. It lies in its co
nsistent use of the one decimal division in
all measures of length, superficies and cap
acity. From the highest to the lowest, all val
ues may be expressed in one series of figu
1 4 O N 1 6 PO I NT
what  is  the essence of the vaunted metric system?
Not its unit of measurement, certainly. That is found
ed on an admittedly erroneous geographic measure.
It lies in its consistent use of the one decimal divisio
n in all measures of length, superficies and capacity.
From the highest to the lowest, all values may be ex
pressed in one series of figures, divided where requi
red by the decimal point. All vulgar fractions, no mat
1 2 O N 1 3 PO I NT
what  is  the essence of the vaunted metric system? Not its un
it of measurement, certainly. That is founded on an admitted
ly erroneous geographic measure. It lies in its consistent use
of the one decimal division in all measures of length, superfic
ies and capacity. From the highest to the lowest, all values m
ay be expressed in one series of figures, divided where requir
ed by the decimal point. All vulgar fractions, no matter how c
1 0 O N 11 P O I NT
what  is  the essence of the vaunted
metric system? Not its unit of measu
rement, certainly. That is founded on
an admittedly erroneous geographic
measure. It lies in its consistent use
of the one decimal division in all me
asures of length, superficies and cap
acity. From the highest to the lowest,
all values may be expressed in one s
eries of figures, divided where requir
ed by the decimal point. All vulgar fr
actions, no matter how convenient, h
ave to give way to this method. We m
ust not write 1/2, but .5. A system of t
8 ON 9 P O I NT
what  is  the essence of the vaunted metric s
ystem? Not its unit of measurement, certainl
y. That is founded on an admittedly erroneou
s geographic measure. It lies in its consisten
t use of the one decimal division in all measu
res of length, superficies and capacity. From t
he highest to the lowest, all values may be ex
pressed in one series of figures, divided wher
e required by the decimal point. All vulgar fra
ctions, no matter how convenient, have to giv
e way to this method. We must not write 1/2, b
ut .5. A system of type standards based on th
is scheme must necessarily have a decimal fr
action of the meter as its base, and be divide
6 ON 7 P O I NT
what  is  the essence of the vaunted metric system? Not its un
it of measurement, certainly. That is founded on an admitted
ly erroneous geographic measure. It lies in its consistent use
of the one decimal division in all measures of length, superfic
ies and capacity. From the highest to the lowest, all values m
ay be expressed in one series of figures, divided where requir
ed by the decimal point. All vulgar fractions, no matter how c
onvenient, have to give way to this method. We must not write
1/2, but .5. A system of type standards based on this scheme m
ust necessarily have a decimal fraction of the meter as its ba
se, and be divided decimally. A Duodecimal division of the m
eter would be absurd enough—it would be the old inch and fo
ot in another form. Still more absurd would be the grafting o
 Bookmania L AT I N CA PI TA L S

ABCDEFGHIJKLMNOPQRSTUVWXYZ& AAAAAAAAAAAAAAAAAAAAAAA
S WAS H & A LT E R NAT E S MA L L CAP S (ACCENTED CH AR ACTER S NOT SH OWN)

Black & Black Italic ÁÀÂÄÃÅĀĂĄÆǼÇĆČĈĊĎĐÉÈÊËĒĔĘĚ

ŊĞĢĜĠĤĦÍÌÎÏĪĮĨĬIJĴĶŁĹĻĽĿÑŃŅŇÓÒÔ
AAAAÆÆÆÆBBBCCCC C CDDDD
EEEEEEEEEŊ�ŊFFFFFFGGGHHHHH
ÕØŌŐŎǾŒŔŖŘŠŚŞȘŜŢŤŦÚÙÛÜŪŮŰ IJJKKKKKKKKKKKKK KK��LL
ŲŬŨŴÝŶỲŸŽŹŻÐÞ LL LLLLL LLLL ��MMMMMMMMM
L AT I N LOW E R CAS E MMMMMMMMMNNNNN NNNNNNN
B O O KM ANI A BLAC K & BLAC K ITALIC abcdefghiıjklmnopqrsſtuvwxyz �OOŒP PQQQQRRRRR��SSSSSẞẞ
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLIC áàâäãåāăąæǽçćčĉċďđéèêëēĕęěŋğģĝġħĥíìîï TT TT TTT�UUUUUUVVVVVVVVVV
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1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates úùûüūůűųŭũẃŵẁẅýŷỳÿžźżðþ XXXX X X X XYY Y YYYYYZZ�ÞÞÞÞ�
Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s L AT I N LOW E R CAS E S UPE R I O R S �
1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLIC èⁿ F LOAT I NG ACCE NTS

1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates L AT I N S MA L L CA PS ˆ`´˜¨˘ˇ˙˚¯˝˛¸�

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Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s
LOW E R CAS E L I GAT UR E S

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1 8 O N 2 0 P OI NT
what is the essence of the vaunted metric
system? Not its unit of measurement, cer
tainly. That is founded on an admittedly
erroneous geographic measure. It lies in
its consistent use of the one decimal divi
sion in all measures of length, superficie
s and capacity. From the highest to the lo
west, all values may be expressed in one
1 0 O N 1 1 P O IN T
ïīįĩĭijĴķłĺļľŀñńņňóòôöõøōőŏǿœŕŗřšśşș PR O PO RT I O NA L & TA B UL A R L I N I NG F I GUR ES
ŜţťŧúùûüūůűųŬũŵýŷ�ÿžźżðþ 1234567890 1234567890
w h at i s  t h e e s s e n c e o f t h e v a u n t e
d metric system? Not its unit of me
S WAS H & A LT E R NAT E CA PI TA L S (ACCE NT E D CHA R ACT E R S NOT S HOW N) PR O PO RT I O NA L & TA B UL A R O LDSTYL E F I GUR ES
asurement, certainly. That is found
ed on an admittedly erroneous geo AAAAAAAAAAAAAAAAAA 1�234567890 11234567890
graphic measure. It lies in its cons AAAAAAAAAÆÆÆÆÆ S UPE R S CR I PT A ND S CI E NT I F I C I NF ER I O R F I GUR ES
istent use of the one decimal divisi
on in all measures of length, super BBBCCCC C CC � � �DDDDEE (-−.,$�¢1234567890)(-−.,$�¢1234567890)
ficies and capacity. From the highes EEEE EEE ŊŊŊFFFFFF GGGHH F R ACT I O N F I G UR E S
t to the lowest, all values may be ex
HH H HHIJJKKKKKK KK KK (-−.,$⁾ 1234567890⁄1234567890 (-−.,$$ )
pressed in one series of figures, div
ided where required by the decima KK K K K KKKA�LLLL LLLL L
PR E - B UI LT F R ACT I O NS
l p o i n t. A l l v u l g a r f r a c t i o n s, n o m a
tter how convenient, have to give w LLLL ��L LMMMMMMMMM 1/2 1/4 3/4
ay to this method. We must not writ MMMMMMMMMNNN N NN CUR R E NCY (STA NDA R D A ND O LDSTYL E)

1 4 ON 1 6 POI NT 8 O N 9 P O IN T N N NNN N NNNN�OOŒP PQQ $$¢£€ƒ¥₡�₣₧¤ $$¢£€ƒ¥₡�₣₧

what  is  the essence of the vaunted metric system?
Not its unit of measurement, certainly. That is foun
ded on an admittedly erroneous geographic measu
re. It lies in its consistent use of the one decimal d
ivision in all measures of length, superficies and ca
what  is  the essence of the vaunted metric s Q QRRRRR��SSSSSẞẞẞTT T OT HE R F I G UR E - R E L AT E D CHA R ACTER S (STANDAR D AND O L DSTYL E)
ystem? Not its unit of measurement, certainl
y. That is founded on an admittedly erroneo T TT T � � ���� UUU UU U U #%‰ #%‰
us geographic measure. It lies in its consiste
nt use of the one decimal division in all mea U VVV VV V VVVVV WW W W MAT HE MAT I CA L O PE R ATO R S
sures of length, superficies and capacity. Fro
m the highest to the lowest, all values may b W W WWWWW XXXXXXXX +−×÷=≈≠±<>≤≥¬|¦^~◊√∫µ∂∑∏πΩ∆
e expressed in one series of figures, divided
where required by the decimal point. All vu XXXXXX XXXXXXYYY Y Y DAS HE S , DE L I MI T E R S A ND CO N J O I NER S

pacity. From the highest to the lowest, all values m
ay be expressed in one series of figures, divided w
here required by the decimal point. All vulgar frac
1 2 ON 1 3 POI NT
lgar fractions, no matter how convenient, h
ave t o g i v e w a y t o t h i s m e t h o d. We m u s t n o
YYYYY ZZ�ÞÞÞ&& _-–—()[]{} ()[]{} /\
t w r i t e 1/2, b u t .5. A s y s t e m o f t y p e s t a n d a r d S WAS H & A LT E R NAT E LOW E R CAS E (ACCE NT E D CHA R ACT E R S NOT S HOW N) Q UOT E S
s based on this scheme must necessarily ha
ve a decimal fraction of the meter as its bas aaaæb b cc c���ddeeeeeeeff f f ff ff ff '"‘’“”‚„‹›«»
6 O N 7 P O IN T ff fffifi fi fiflfl fl fl fl fl ffi ffi ffi ffi ffi ffl ffl ffl ffl ffl PUNCT UAT I O N

what  is  the essence of the vaunted metric system? Not its u
nit of measurement, certainly. That is founded on an admitt
what  is  the essence of the vaunted metric system? Not its u
nit of measurement, certainly. That is founded on an admitt
ffl ffl gggg g g gg g g �gg hhhhhhhhi�jj j jk .,:;…!?¡¿·!?¡¿
edly erroneous geographic measure. It lies in its consistent
use of the one decimal division in all measures of length, su k k kkkkkkkkl l lmmmmmnnnnn� MI S CE L L A NE O US

edly erroneous geographic measure. It lies in its consistent perficies and capacity. From the highest to the lowest, all va
lues may be expressed in one series of figures, divided wher oo�œpppqqq qrrrrırr sss s sss s sststst stß ®©℗™ •@*†‡§¶ ° ℓ ℮  
use of the one decimal division in all measures of length, su e required by the decimal point. All vulgar fractions, no ma

perficies and capacity. From the highest to the lowest, all va

tter how convenient, have to give way to this method. We m
ust not write 1/2, but .5. A system of type standards based o ßßt t t ttttuvvvwwwxxxxxxxx yy y y UPPE R CAS E VA R I A NTS

lues may be expressed in one series of figures, divided wher
e required by the decimal point. All vulgar fractions, no ma
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n this scheme must necessarily have a decimal fraction of t
he meter as its base, and be divided decimally. A Duodecim
al division of the meter would be absurd enough—it would b
e the old inch and foot in another form. Still more absurd w
LAT I N I TA LI C CA PI TA LS
ABCDEFGHIJKLMNOPQRSTUVWXYZ
&ÁÀÂÄÃÅĀĂĄÆǼÇĆČĈĊĎĐÉÈÊËĒĔĘ
ĚŊĞĢĜĠĤĦÍÌÎÏĪĮĨĬIJĴĶŁĹĻĽĿÑŃŅŇÓÒ
ÔÕØŌŐŎǾŒŔŖŘŠŚŞȘŜŢŤŦÚÙÛÜŪŮ
ŰŲŬŨŴÝŶỲŸŽŹŻÐÞ
LAT I N I TA LI C LOWER CASE
SWASH & A LT. ITA L IC SM A L L CA P S ( AC C E N TE D C H A RAC TE RS NOT S HOW N) table of stylistic sets Off (Standard Appearance) On (With Stylistic Set Applied)
AAAAAAAAAAAAAAAAAAAAAA
AAAAAÆÆÆÆBBBCCCC C CDDD Stylistic Set 1: angry angry
DEEEEEEEEEŊ�ŊFFFFFFGGGHHHH
HIJJKKKKKKKKKKKKK KK��L
(Cursive Forms on a, g, & y):
angry angry
LLL LLLLL LLLL ��MMMMMMMMM Stylistic Set 2: Qg&$ Qg&$
MMMMMMMMMNNNNN NNNNNNN (Roman/Italic Alternates):
Qg&$ Qg&$

abcdefghiıjklmnopqrsſtuvwxyz �OOŒP PQQQQRRRRR��SSSSSẞẞ

áàâäãåāăąæǽçćčĉċďđéèêëēĕęěŋğģĝġħĥíìîï TT TT TTT�UUUUUUVVVVVVVVVV
īįĩĭijjĵķłĺļľŀñńņňʼnóòôöõøōőŏǿœŕŗřšśşșŝßţťŧ WWW WWWWWWW X XXXX XXXXX Stylistic Set 3: AMERICAN AMERICAN
úùûüūůűųŭũẃŵẁẅýŷỳÿžźżðþ XXXX X X X XYY Y YYYYYZZ�ÞÞÞÞ�
(Commoncase Caps on A, E, M, & N):
AMERICAN AMERICAN
�
eagles eagles
LAT I N I TA LI C LOWER CASE SU P E RIORS

èⁿ ITA L IC FLOATIN G AC C E N TS Stylistic Set 4:

LAT I N I TA LI C SMA LL CA PS

abcdefghijklmnopqrstuvwxyz&
ˆ`´˜¨˘ˇ˙˚¯˝˛¸̦
ITA L IC LOW E RCASE L IGATU RE S
(Jenson “e”):
eagles eagles
áàâäãåāăąæǼçćčĈďđéèêëĒĕĘĚŊğģĜĠĦíìî � ff fh fi fj fk fl ffb ffi ffj ffk ffl
ïīįĩĭijĴķłĺļľŀñńņňóòôöõøōőŏǿœŕŗřšśşș ITA L IC P RO P O RTIO N A L & TA B U L A R L IN IN G FIGU RE S
Stylistic Set 5: 1910 1910
ŜţťŧúùûüūůűųŬũŵýŷ�ÿžźżðþ 1234567890 1234567890
(Traditional Old Style Figure One)
1910 1910
RAFTERS RAFTERS
S WAS H & A LTER NATE I TA LI C CAPITALS (ACCE N T E D CHARACT E RS N OT SH OW N ) ITA L IC P RO P O RTIO N A L & TA B U L A R O L D STY L E FIGU RE S

AAAAAAAAAAAAAAAAAA 1�234567890 11234567890 Stylistic Set 6:

AAAAAAAAAÆÆÆÆÆ ITA L IC SU P E RSC RIP T A N D SC IE N TIFIC IN FE RIO R FIGU RE S
(Wavy Crossbars on A, F, & E)
rafters rAFtErs
BBBCCCC C CC � � �DDDDEE (-−.,$�¢1234567890)(-−.,$�¢1234567890)
EEEE EEE ŊŊŊFFFFFF GGGHH
HH H HHIJJKKKKKK KK KK
ITA L IC FRAC TIO N FIGU RE S

(-−.,$⁾ 1234567890⁄1234567890 (-−.,$$ )

Stylistic Set 7: WAVMSELQe WAVMSELQe
KK K K K KKKA�LLLL LLLL L P RE -B U ILT ITA L IC FRAC TIO N S
(Alternates)
wavmselq WAVMSELQ
LLLL ��L LMMMMMMMMM 1/2 1/4 3/4 Notes: Stylistic Sets 1–7 provide selected “recipes” of alternate characters designed to give Bookmania a different look.
MMMMMMMMMNNN N NN ITA L IC C U RRE N CY ( STA N DA RD A N D O L D STY L E ) Sets may be combined (when software allows) to create your own custom recipes or used alone. Accented characters are
N N NNN N NNNN�OOŒP PQQ $$¢£€ƒ¥₡�₣₧¤ $$¢£€ƒ¥₡�₣₧ not shown in this table, but are fully represented. Stylistic Sets require application and/or operating system support.

Q QRRRRR��SSSSSẞẞẞTT T OTH E R FIGU RE -RE L ATE D ITA L IC C H A RAC TE RS ( STA N DA RD A N D O L DST Y L E )

L AN GUAGES S U P P O RT ED AB O U T T H E S WAS H C H AR AC T E R S

T TT T � � ���� UUU UU U U #%‰ #%‰ English, French, Spanish, Portuguese, Basque, German, Swedish, While it might have been possible to have swash characters
U VVV VV V VVVVV WW W W ITA L IC M ATH E M ATICA L O P E RATO RS Norwegian, Danish, Finnish, Icelandic, Czech, Polish, Hungarian, selected automatically when the Swash feature is used, I believe
Lithuanian, Croatian, Esperanto, Maltese, Turkish, Romanian, and that the selection of swash characters should be in the hands of
W W WWWWW XXXXXXXX +−×÷=≈≠±<>≤≥¬|¦^~◊√∫µ∂∑∏πΩ∆ Albanian. the designer. For best results, swash characters should be selected
XXXXXX XXXXXXYYY Y YY ITA L IC DASH E S, D E L IM ITE RS A N D C O N JO IN E RS note: Access to extended language features requires application
and inserted from the glyph palette or glyph window in your
graphics application. Professional applications such as InDesign,
YYYY ZZ�ÞÞÞ&& _-–—()[]{} ()[]{} /\ and/or operating system Unicode or OpenType support.
Illustrator, and QuarkXPress have this capability.
O P EN T Y P E FEAT U R ES S U P P O RT ED
S WAS H & A LTER NATE I TA LI C LOWE RCASE (ACCE N T E D CH ARACT E RS N OT SH OW N ) ITA L IC Q U OTE S ST Y L I ST I C M AP P I N G (P L AI N , I TAL IC, BO L D, BO L D ITAL IC)

aaaæb b cc c���ddeeeeeeeff f f ff ff '"‘’“”‚„‹›«» Small Caps from Lowercase, All Small Caps, Swash Characters,
PL A I N I TA L I C B O L D B O L D I TAL I C
Standard Ligatures, Case-Sensitive Forms, Ordinals, Class-Based
ff ff fffifi fi fiflfl fl fl fl fl ffi ffi ffi ffi ffi ffl ffl ffl ffl ffl ITA L IC P U N C TUATIO N Kerning, Proportional Lining Figures, Tabular Lining Figures,
Light
Regular
Italic
Italic Bold Bold Italic
ffl ffl gggg g g gg g g �gg hhhhhhhhi�jj j jk .,:;…!?¡¿·!?¡¿ Proportional Oldstyle Figures, Tabular Oldstyle Figures, Fractions,
Superscript, and Scientific Inferior.
Semibold Italic
Black Italic
k k kkkkkkkkl l lmmmmmnnnnn� M ISC E L L A N E O U S ITA L IC
Note: Access to OpenType features requires application and/or
oo�œpppqqq qrrrrırr sss s sss s sststst stß ®©℗™ •@*†‡§¶ ° ℓ ℮   operating system support for OpenType.
note: Use of stylistic mapping (in other words, using the keyboard
or other short cut for “plain,” “bold,” and “italic”) is optional and not
ßßt t t ttttuvvvwwwxxxxxxxx yy y y ITA L IC U P P E RCASE VA RIA N TS necessarily recommended for some pre-press workflows.

yyyyzzzþþþþ þ ‹›«»()[]{}-–—·•¡¿
Copyright 2015 Mark Simonson. “Bookmania” is a trademark of Mark Simonson Studio.
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