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 &Bookmania One might wonder: Why bother? 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 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 would have done if he had developed Bookman Oldstyle the way he did 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. Why?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 , old style figures, tabular and proportional figures, 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 era had more weights. TheIT C 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 Why?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..&&& #%‰ $¢€£ .,:;…!¡?¿‘’“”'"‚„« » ‹›()[]{} - –— • ·* † ‡ ¶§@ 3,�85 Good Reasons to Use Bookmania. A A A A A A A A A A A A A A A A A A A A A A A A A A A A �� À À À À À À À À À À À À À À À À À À À À À À À À À À À À KÀ Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á KÁ                             K à à à à à à à à à à à à à à à à à à à à à à à à à à à à KÃ Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä KÄ Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å KÅ Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā KĀ Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă KĂ Ą Ą Ą Ą Ą KĄ Æ Æ Æ Æ Æ Ǽ Ǽ Ǽ Ǽ Ǽ B B B B C C C C C C C Cx � �h � �h � Ç Ç Ç Ç Ç Ç Ç Çx Çh �h Ć Ć Ć Ć Ć Ć Ć Ćx Ćh �h Ĉ Ĉ Ĉ Ĉ Ĉ Ĉ Ĉ Ĉx Ĉh �h Ċ Ċ Ċ Ċ Ċ Ċ Ċ Ċx Ċh �h Č Č Č Č Č Č Č Čx Čh �h D D D D D Ď Ď Ď Ď Ď Đ Đ E E E E E E E E E E È È È È È È È È È È É É É É É É É É É É Ê Ê Ê Ê Ê Ê Ê Ê Ê Ê Ë Ë Ë Ë Ë Ë Ë Ë Ë Ë Ē Ē Ē Ē Ē Ē Ē Ē Ē Ē Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ė Ė Ė Ė Ė Ė Ė ĖĖ Ė Ę Ę Ę Ę Ę Ę Ę Ę Ě Ě Ě Ě Ě Ě Ě ĚĚ Ě F F F F F F F G G G G Ĝ Ĝ Ĝ Ĝ Ğ Ğ Ğ Ğ Ġ Ġ Ġ Ġ Ģ Ģ Ģ Ģ H H H H H H H H Ĥ Ħ Ħ Ħ Ħ Ħ Ħ Ħ Ħ I I Ì Ì Í Í Î Î Ï Ï Ĩ Ī Ī Ĭ Į İ İ IJ IJ J J J Ĵ Ĵ Ĵ K K K K K K K K K K K K K K K K K K � � �� �� Ķ Ķ Ķ Ķ Ķ Ķ Ķ Ķ Ķ Ķ Ķ Ķ ĶAĶ A L L L LX LX L L L L L L L L L � � �� �� LX LX Ĺ Ĺ ĹX Ĺ Ĺ Ĺ Ĺ Ĺ Ĺ Ĺ Ĺ ĹĹ A ĹX ĻĻ Ļ ĻX ĻX Ļ Ļ Ļ Ļ Ļ Ļ Ļ Ļ Ļ ĻA ĻA ĻX ĻX Ľ Ľ Ľ ĽX ĽX Ľ Ľ Ľ Ľ Ľ Ľ Ľ Ľ Ľ ĽA ĽA ĽX ĽX Ŀ ĿX ĿX Ł Ł Ł ŁX ŁX Ł Ł Ł Ł Ł Ł Ł Ł Ł ŁA ŁA ŁX ŁX M M M M M M M M M M M M M M M M M M M N N N N N N N N N N N N N N N N N Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ņ Ņ Ņ ŅŅ Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ŋ Ŋ Ŋ Ŋ O � �� �� O O Ò ÒO OÒ Ò Ò Ó ÓO OÓ Ó Ó Ô ÔO OÔ Ô Ô Õ ÕO OÕ Õ Õ Ö ÖO OÖ Ö Ö Ø ØO OØ Ø Ø Ō ŌO OŌ Ō Ō Ŏ ŎO OŎ Ŏ Ŏ Ő ŐO OŐ Ő Ő Ǿ ǾO OǾ Ǿ Œ Œ P P P Q Q Q Q Q R R R R R R � � ��� � Ŕ Ŕ ŔA Ŗ Ŗ Ŗ Ŗ ŖA Ř Ř Ř Ř Ř Ř ŘAŘ A S S S S S S Ś Ś Ś Ś Ś Ś Ŝ Ŝ Ŝ Ŝ Ŝ Ŝ Ş Ş Ş Ş Ş Ş Š Š Š Š Š Š Ș Ș Ș Ș Ș Ș ẞ ẞ ẞ T T T T T T T T � � � � � �h �� �� � �� �� Ţ Ţ Ţ Ţ Ţ Ţ Ţ Ţ Ţh Ţh �� ŢT TŢ Ť Ť Ť Ť Ť Ť Ť Ť Ťh �� �� ŤT TŤ Ŧ Ŧ Ŧ Ŧ ŦT TŦ U U U U U U U U U Ù Ù Ù Ù Ù Ù Ù Ù Ù Ú Ú Ú Ú Ú Ú Ú Ú Ú Û Û Û Û Û Û Û Û Û Ü Ü Ü Ü Ü Ü Ü Ü Ü Ũ Ũ Ũ Ũ Ũ Ū Ū Ū Ū Ū Ū Ū Ū Ū Ŭ Ŭ Ŭ Ŭ Ŭ Ů Ů Ů Ů Ů Ű Ű Ű Ű Ű Ų Ų Ų Ų Ų V V V V V V V V V V V V W W W W W W W W W W W W Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ẁ Ẁ � Ẃ Ẃ � Ẅ Ẅ Ẅ X X X X X X X X X X X X X X X X X X X X X Y Y Y Y Y Y Y Y Y Y Y Ý Ý Ý Ý Ý Ý Ý Ý Ý Ý Ý Ỳ Ŷ Ŷ Ŷ Ŷ Ÿ Ÿ Ÿ Ÿ Z Z Z � �� Ź Ź Ź ŹA Ż Ż Ż ŻA Ž Ž Ž ŽA Ð Þ Þ Þ Þ A A A A A A A A A A A A A A A A A A A A A A A A A A A A �� À À À À À À À À À À À À À À À À À À À À À À À À À À À À �� Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á Á ��                             �� à à à à à à à à à à à à à à à à à à à à à à à à à à à à �� Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä Ä �� Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å Å �� Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā Ā �� Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă Ă �� Ą Ą Ą Ą Ą �� Æ Æ Æ Æ Æ Ǽ Ǽ Ǽ Ǽ Ǽ B B B B C C C C C C C Ç Ç Ç Ç Ç Ç Ç Ć Ć Ć Ć Ć Ć Ć Ĉ Ĉ Ĉ Ĉ Ĉ Ĉ Ĉ Ċ Ċ Ċ Ċ Ċ Ċ Ċ Č Č Č Č Č Č Č D D D D D Ď Ď Ď Ď Ď Đ Đ E E E E E E E E E E È È È È È È È È È È É É É É É É É É É É Ê Ê Ê Ê Ê Ê Ê Ê � Ê Ë Ë Ë Ë Ë Ë Ë Ë Ë Ë Ē Ē Ē Ē Ē Ē Ē Ē Ē Ē Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ĕ Ė Ė Ė Ė Ė Ė Ė Ė Ė Ė Ę Ę Ę Ę Ę Ę Ę Ę Ě Ě Ě Ě Ě Ě Ě Ě Ě Ě F F F F F F F G G G G Ĝ Ĝ Ĝ Ĝ Ğ Ğ Ğ Ğ Ġ Ġ Ġ Ġ Ģ Ģ Ģ Ģ H H H H H H Ĥ Ħ Ħ Ħ Ħ Ħ Ħ I I Ì Ì Í Í Î Î Ï Ï Ĩ Ī Ī Ĭ Į � � IJ IJ J J J Ĵ Ĵ Ĵ K K K K K K K K K K K K K K K K � �� � �� Ķ Ķ Ķ Ķ Ķ Ķ Ķ Ķ �� �� L L L LX LX L L L L L L L L L � �� � �� Ĺ Ĺ ĹX Ĺ Ĺ Ĺ Ĺ Ĺ Ĺ Ĺ Ĺ Ĺ� � Ļ Ļ Ļ ĻX ĻX Ļ Ļ Ļ Ļ Ļ Ļ Ļ Ļ Ļ �� �� Ľ Ľ Ľ ĽX ĽX Ľ Ľ Ľ Ľ Ľ Ľ Ľ Ľ Ľ �� �� Ŀ Ŀ Ł Ł Ł ŁX ŁX Ł Ł Ł Ł Ł Ł Ł Ł Ł �� �� M M M M M M M M M M M M M M M M M M M N N N N N N N N N N N N N Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ñ Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ń Ņ Ņ Ņ � Ņ Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ň Ŋ Ŋ � Ŋ O � �� �� O O Ò �� �� � � Ó �� �� Ó Ó Ô �� �� Ô Ô Õ �� �� Õ Õ Ö �� �� � � Ø �� �� Ø Ø Ō �� �� Ō Ŏ �� �� Ŏ Ŏ Ő �� �� Ő Ő Ǿ �� �� Ǿ Œ Œ P P P Q Q Q Q Q R R R R R R � �� � �� Ŕ Ŕ �� Ŗ Ŗ Ŗ Ŗ �� Ř Ř Ř Ř Ř Ř �� �� S S S S S S Ś Ś Ś Ś Ś Ś Ŝ Ŝ Ŝ Ŝ Ŝ Ŝ Ş Ş Ş Ş Ş Ş Š Š Š Š Š Š Ș Ș Ș Ș Ș Ș ẞ ẞ ẞ T T T T T T T T � �� �� Ţ Ţ Ţ Ţ Ţ Ţ Ţ Ţ �� �� Ť Ť Ť Ť Ť Ť Ť Ť �� �� Ŧ Ŧ Ŧ Ŧ �� �� U U U U U U U Ú Ú Ú Ú Ù Ù Ù Ù Ù Ù Ù Û Û Û Û Û Û Û Ü Ü Ü Ü Ü Ü Ü Ũ Ũ Ũ Ũ Ũ Ū Ū Ū Ū Ū Ū Ū Ŭ Ŭ Ŭ Ŭ Ŭ Ů Ů Ů Ů Ů Ű Ű Ű Ű Ű Ų Ų Ų Ų Ų V V V V V V V V V V V W W W W W W W W W W W Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ Ŵ � � � � � � � � � X X X X X X XX X X X X X X X X X X X Y Y Y Y Y Y Y Y Y Ý Ý Ý Ý Ý Ý Ý Ý Ý � Ŷ Ŷ Ŷ Ŷ Ÿ Ÿ Ÿ Ÿ Z Z Z � �� Ź Ź Ź �� Ž Ž Ž �� Ż Ż Ż �� Ð Þ Þ Þ Þ a a a a à à à à á á á á â â â â ã ã ã ã ä ä ä ä å å å å ā ā ā ā ă ă ă ă ą ą ą ą æ æ ǽ ǽ b b b c c c c ç ç ç ç ć ć ć ć ĉ ĉ ĉ ĉ ċ ċ ċ ċ č č č č � � � d d d ď ď đ đ e e e e e e e e è è è è è è è è é é é é é é é é ê ê ê ê ê ê ê ê ë ë ë ë ë ë ë ë ē ē ē ē ē ē ē ē ĕ ĕ ĕ ĕ ĕ ĕ ĕ ĕ ė ė ė ė ė ė ė ė ę ę ę ę ę ę ę ę ě ě ě ě ě ě ě ě f ff f f �ff ff ff ff ff ff fh fi fi fi fi fi fj fk fl fl fl fl fl fl fl ffb ffi ffi ffi ffi ffi ffi ffj ffk ffl ffl ffl ffl ffl ffl ffl ffl g g g gg g g g g g g � g g ĝ ĝ ĝ ĝĝ ĝ ĝ ĝ ĝ ğ ğ ğ ğğ ğ ğ ğ ğ ġ ġ ġ ġġ ġ ġ ġ ġ ģ ģ ģ ģģ ģ ģ ģ ģ h h h h h h h h h �� �� �� � � �� �� ĥ ĥ ĥ ĥ ĥ ĥ ĥ ĥ ĥ ħ ħ ħ ħ ħ ħ ħ ħ ħ i i � ì ì í í î î ï ï ĩ ĩ ī ī ĭ ĭ į į ı ı ij j jj j j ĵ ĵ ĵ ĵ ĵ ȷ ȷ ȷ ȷ ȷ k k k k k k k k k k k k ķ ķ ķ ķ ķ ķ ĸ l l l l ĺ ĺ ĺ ĺ ļ ļ ļ ļ ľ ľ ľ ľ ŀ ŀ ŀ ł ł ł ł m m m m m m n n n n n n ñ ñ ñ ñ ñ ñ ń ń ń ń ń ń ņ ņ ņ ņ ņ ņ ň ň ň ň ň ň ʼn ŋ o � �� �� o o of ò òo oò ò ò ó óo oó ó ó ô ôo oô ô ô õ õo oõ õ õ ö öo oö ö ö ø øo oø ø ø ō ōo oō ō ŏ ŏo oŏ ŏ ŏ ő őo oő ő ő ǿ ǿ ǿo oǿ œ œ p p p p q q q q q r r r r rı r r ŕ ŕ ŕ ŕ ı ŗ ŗ ŗ ŗ ŗı ŗ ŗ ř ř ř ř řı ř ř s s s s s s s s s s ś ś ś ś ś ś ś ś ś ŝ ŝ ŝ ŝ ŝ ŝ ŝ ŝ ŝ ş ş ş ş ş ş ş ş ş š š š š š š š š š ș ș ș ș ș ș ș ș ș � st st st ß ß ß ß ſ ſb ſh ſi ſk ſl ſt t t t t t t t t ţ ţ ţ ţ ţ ţ ţ ţ ť ť ť ť ť ť ť ŧ ŧ ŧ ŧ ŧ ŧ ŧ ŧ u u ù ù ú û û ü ü ũ ũ ū ū ŭ ŭ ů ů ű ű ų ų v v v v w w w w ŵ ŵ ŵ ŵ ẁ ẁ ẁ ẃ ẃ ẃ ẅ ẅ ẅ x x x x x x x x x y y y y y y y y y ý ý ý ý ý ý ý ý ý ÿ ÿ ÿ ÿ ÿ ÿ ŷ ŷ ŷ ŷ ŷ ŷ ỳ z z z z ź ź ź ź ż ż ż ż ž ž ž ž ð þ þ þ þ þ þ     ʰ    ⁿ     0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 1 2 3 4 5 6 7 8 9 0 1 � 2 3 4 5 6 7 8 9 $ $ ¢ € £ ¥ ƒ ₡ ₢ ₣ ₧ � ¤ $ $ ¢ € £ ¥ ƒ ₡ ₢ ₣ ₧ � � ⁽ $ � ¢ ⁻ - . , ⁾ � � � � � � � � � ₍ $ � ¢ � - . , ₎ ₀ ₁ ₂ ₃ ₄ ₅ ₆ ₇ ₈ ₉ ⁰ ¹ ² ³ ⁴ ⁵ ⁶ ⁷ ⁸ ⁹ ⁄ 0 1 2 3 4 5 6 7 8 9 ¼ ½ ¾ . , : ; … / | ¦ ­\ _ ' " ‘ ’ “ ” ‚ „ ! ¡ ? ¿ ( ) [ ] { } - – — « » ‹ › • · ¡ ¿ ( ) [ ] { } - – — « » ‹ › • · ! ¡ ? ¿ ( ) [ ] { } & & & # % ‰ & � � # % ‰ * † ‡ ¶ § @ ° © ® ™ ℗ ℓ ℮ + < = > × ÷ − √ ≤ ≥ ± ≈ ≠ ¬ ∞ ◊ ∫ ^ ~ Δ ∑ ∏ Ω ∂ μ π ´ ` ˆ ˇ ¨ ¯ ˘ ˙ ˚ ˛ ˜ ˝ ̒¸  swashes

Markersbecomes small caps Markers Terra Firma or becomes terra firma MaRKerS or A feor W RandOmTerra Firma MARKERS tabular & proportional figures old style figures 1967 & 1967 1967 become becomes 1967 & 1967 1967 fractions

commoncase caps 44/100 REMAIN becomes becomes 44/100 REMAIN Featuresoptional “cursive” characters imaginary becomes imaginary alternate characters Question 17 becomes case-sensitive forms Question �7 also [X-ray] becomes &&& [X-RAY] discretionary ligatures ligatures

Pastbe Perfectcomes Affluentbecomes Office Past Perfect or Affluent Office

historical forms PRACTICEbecomes Congress PRACTICE becomes alternate ligatures Congreſs

Theatre jenson “E” becomes �eatre Tennessee or becomes Features�eatre Tennessee or �eatre Boatloads of Swashes. (Don’t Worry. You Don’t Have to Use Them.*) *Well...maybe just a little bit. CAPS: A A A A A A A A A A A A A A A A A A A A A A A A A A A A Æ Æ Æ Æ Æ B BB B C CC C C C C C � � � D DD D D E E E E E E E E EE F FF F F F F G GG G H HH H H H H H I I J JJ K KK K K K K K K K KK K K K K K K � � L L L L L L L L L L L L L L � � L L M M M M M M M MM M M M M MM M M M M N N N N N N N N N NN N N N N N N O �O O Œ Œ P P P Q Q Q Q Q R RR R R R � � S SS S S S ẞ ẞ ẞ T T T T T T T T � � � � � � U UU U U U U U U V V V V V V V V V V V V W WW W W W W W W W W W X XX XX XX X X XX X X X X X X X X X X Y Y Y Y Y YY Y Y Y Y Z ZZ � & & & Þ Þ Þ Þ

Small caps: A A A A A A A A A A A A A A A A A A A A A A A A A A AA Æ Æ Æ Æ Æ B B B B C CC C C C C D D D D D E E E E E E E E EE F FF F F F F G G G G H H H H H H I I J JJ K K K K K K K K KK KK K K KK � � L L L LL L L L L L L L L L� � M M M M M M M M M M M M M MM M M M M N N N N N N N N N N N N N O� O O Œ Œ P P P Q Q Q Q Q R R R R RR � � S S SS S S ẞ ẞ ẞ T T T T T T T T� U U U U U U U V V V VV VV V V V V W W W W W W W W W W W X X X XX X XX X X X X XX X X X X X Y Y Y Y Y Y Y Y Y Z ZZ � &� � Þ Þ Þ Þ

Lowercase: a a a a æ æ b b b c cc c � � � d dd e ee e e e e e f ff f f ff ff ff ff ff ff fi fi fi fi fi fl fl fl fl fl fl fl ffi ffi ffi ffi ffi ffi ffl ffl ffl ffl ffl ffl ffl ffl g g g gg g g g g g g � g g h hh h h h h h h i i� j jj j j k kk k k k k k k k k k l l l l m mm m m m n nn n n n o �o o of œ œ p pp p q q q q q r rr r rır r s s s s s s s s s s� st st st ß ß ß ß t t t t t t t t u u v vv v w ww w x x xx x x x x x y yy y y y y y y z zz z þ þ þ þ þ þ Waffles Anne Alex Alice Amy Alec AmandaOkay! Anthony Diet for Abigail Andy AFRICA a Small Aaron {Figure A} April Planet Allen $25 Ada NicetyWHO’S Alfred of Alexis AFRAID Adam VIRGINIA Amelia WOOLF? Archie & Thyme Rosemary Angela Arthur HOT, Annette OurTASTY Alvin ArethaG& Tı m e PIZZA Abraham AdrianneSensuous& & XavierDiet forCalifornia a Small ẞ Planet �776 �e Energy FRANCEMusic Lov er’s ROYAltY Album HEALTH JOURNALQ &A &Christmas Miller & Richard’s Antique Old Style (1858) ’ New Bookman (1927) Photo Bookman & neo-Bookman (c. 1960s)

ATF Bookman Oldstyle (c. 1901) What I call “Sixties Bookman” (c. 1965) Meola Bookman (c. 1970)

essentially modern interpretations of Bookman. It’s closest to the larger sizes of ’s types.) It differed from the later ATF Bookman Oldstyle, but significantly Bookman Oldstyle in many details. bolder, with more contrast between the The Other foundries imitated the design. thicks and thins than other Bookmans and The Bruce Foundry did Old Style Antique with smaller serifs. Sixties Bookman #310 and followed in �90� with an improved expanded on ATF Bookman’s modest but Bookmania version called Bartlett Oldstyle. Shortly distinctive swash character repertoire with after, The Bruce Foundry joined American 25 in the roman and 47 in the italic. Story. Type Founders and Bartlett Oldstyle was One unfortunate thing about Sixties renamed “Bookman Oldstyle.” Bookman’s italic is that most of the In early 2006, I did a custom font for a The new name came from Wadsworth characters are slanted mechanically, with client based on the old display font, A. Parker, who is also credited with adding no optical correction. VGC, maker of the Bookman Bold Italic with Swash. Along the first few swash characters to Bookman, Typositor, created their own version using with Bookman Bold with Swash, it six in the roman and nine in the italic. the same name, but with optically correct originated sometime in the mid-1960s. I Bartlett/Bookman Oldstyle seems to have italics and a somewhat different set of have so far been unable to find out who originated the “slanted roman” italic that swash characters. designed and produced it. I think of it as has been a characteristic feature of all Other Bookmans appeared in film type the “Sixties Bookman.” Bookmans (with two recent exceptions). and process lettering from houses such as Sixties Bookman was widely available Bookman Oldstyle was adapted to Photo-Lettering (Photo Bookman) and by 1970 in film , as well as rub-down Monotype casters in �909. Other foundries Headliners International (neo-Bookman). and cut-out type. Letraset catalogs credited copied it, including Ludlow, which added a Photo Bookman is basically Bookman the design to Miller & Richard, a Scottish different set of swash characters. Sol Hess Oldstyle with “mod” swash letters. . This is stretching the truth a designed New Bookman for Monotype in Neo-Bookman is more closely based on bit. Miller & Richard did produce a face �927, a more refined version with wedge- Sixties Bookman, but with five weights. around �858, a precursor to Bookman shaped serifs. Monotype and Barnhart Another design, called Meola Bookman, Oldstyle, called Antique Old Style No. 7. Brothers & Spindler produced their own had �97 rather clumsily-drawn swash Designed by A. C. Phemister, it was a heavy “Bold” and “Bold Condensed” styles. characters, and only a single weight. variation of a face called “Old Style.” However, none of these earlier metal By �970, the most ubiquitous Bookman (Nineteenth-century Old Style faces were faces could be mistaken for Sixties was Sixties Bookman. Where did it come Book covers (c. 1960s & 1970s) ITC Bookman (1975) Monotype Bookman Old Style (c. 1986) B ookmania ABCDEFGH abcdefghijkl 1234567&& 12345678& From a United Airlines ad (1967) Book covers, etc. (c. 1960s & 1970s) Bookmania (2011) from? I’ve yet to see a credit for the included on Apple’s LaserWriter II in the previous swash character ever concocted designer or maker of this version. The best mid-�980s—making it one of the earliest for Bookman (within reason) and as many theory I have is that it was a custom font fonts available for —the new ones as I can think of. Small caps, old created for ad campaign in the mid-sixties. eclipse became total. style figures. Swash small caps. Plenty of Someone who had access to it made To make matters worse (at least for fans weights. Ligatures. Swash ligatures! I was copies. And before long, every of the old Bookmans), Monotype created experiencing “Bookmania.” shop had it. Whatever the story is, this Bookman Old Style, a family of fonts with 682 swash characters later, it’s finished. version of Bookman was everywhere. I had the same metrics and proportions as ITC I fear I may have gone too far with the Sixties Bookman on rub-down type sheets Bookman. In the details, it looks more like swashes, but I don’t regret it. Bookmania is when I was in high school in the early the old Bookmans, but it has a similar my love letter to the classic Bookmans. It’s Seventies discovering type. “cursive” italic and enlarged lowercase. a kind of throwback (ITC Bookman was In �975, ITC released ITC Bookman (four Between them, ITC Bookman and progress, right?), but it’s also brand new, weights, with italics), designed by the Bookman Old Style have taken over the designed for the digital age. talented . ITC Bookman was a Bookman “space” in the minds of most And, really, you can completely ignore bold departure from previous versions. The designers, and the older—and I’d say those gawdy swashes if you like, and lowercase height was enlarged (in keeping handsomer—Bookmans are scarce to appreciate the quiet dignity of plain old with the fashion of the time), the swashes nonexistent in the digital font world. Bookmania. were more reserved, and—significantly—it Or not. had a “cursive” italic, instead of the slanted Much of this was on my mind when I was roman of earlier Bookmans. This italic was digitizing Sixties Bookman for my client. not related to the style used in Bookman’s Such a cheesy old typeface, I thought, but it Antique Old Style ancestors, which were sure is fun drawing these swashes.... more like the italics of Caslon or Century Then I had a thought. What if I took two Old Style. Instead, it is more like the italics of the best old Bookmans—Bookman of or Century Schoolbook. Oldstyle (specifically, the larger sizes) and By the end of the �970s, ITC Bookman the mysterious but ubiquitous Sixties was a hit and was eclipsing the older Bookman, and did a revival based on them? Bookmans, including Sixties Bookman. Completely redrawn and refined—not a When it was chosen as one of the fonts facsimile of the old fonts. With every & Bookmania Light & Light Italic

BOOKMANIA LIGHT & LIGHT 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

18 ON 20 10 ON 11 POINT wh a t i s t h e es s e n c e of th e va u n t e d me 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 m e t r i c tr i c sy s t e m? No t i t s u n i t o f me a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e s y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n dl y er r o n e o u s geo g r a p h i c me a s u r e. It li e ly. Th a t is fo u n d e d on an ad m i t t e d l y er r o n e o u s in it s co n s i s t e n t us e of th e on e de c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r s geo g r a p h i c me a s u r e. It li e s in it s co n s i s t e n t fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m ay b e e x p r e s s e d i u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e c i m a l p o i n t. A l l v u l g a r f r es of le n g t h, su p e r fi c i e s an d ca p a c i t y. Fro m th a c t i o n s, n o m a t t e r h o w c o nve n i e n t, 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 t e hi gh e s t to th e lo w e s t, al l va l u e s may be ex p 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 re s s e d in on e se r i e s of fi g u r e s, div i d e d wh e r e ds ba s e d on th i s sc h e m e mu s t ne c e s s a r i 14 ON 16 POINT 8 ON 9 POINT

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 m e t r i c s y s t wh a t i s t h e es s e n c e of th e va u n t e d me t r i c sy s t e m? No t i e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h e o n e d d m i t t e d l y e r r o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a s i s t e n t u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l l l v a l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e c i m a l p o i n t. A l l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o v u l g a r f r a c t i o n s, n o m a t t e r h o w c o nve n i e n t, 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 t w r i t e 1/2, b w e s t, a l l v a l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, 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 b a s e d o n t h i s s c h e m e m u s t n e c e s s a r i l y h a v e a d e c i m a l f r a c t i o n o f d iv i d e d w h e r e r e q u i r e d b y t h e d e c i m a l p o i n t. A l l v u l g a r f r t h e m e t e r a s i t s b a s e, a n d b e d i v i d e d d e c i m a l l y. A a c t i o n s, n o m a t t e r h o w c o nve n i e n t, have t o g i v e w a y t o t h i D u o d e c i m a l d i v i s i o n o f t h e m e t e r w o u l d b e a b s u r

12 ON 13 POINT 6 ON 7 POINT

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 m e t r i c s y s t e m? N o t i t s u n i t o f 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 m e t r i c s y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u s geo g r a p h i c me a s u r e. It li e s in it s co n s i s t e n t us e of th e on e de c i m a l m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u div i s i o n in al l me a s u r e s of le n g t h, su p e r fi c i e s an d ca p a c i t y. Fro m th e hi gh e s t to th e lo w e s t, al l va l u e s may be ex p r e s s e d in on e se r i e s of fi g s geo g r a p h i c me a s u r e. It li e s in it s co n s i s t e n t us e of th e on e de c i m a l ur e s, div i d e d wh e r e re q u i r e d by th e de c i m a l po i n t. Al l vu l g a r fr a c t i o n s, no ma t t e r ho w co nve n i e n t , have to gi v e wa y to th i s me t h o d. We m d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h us t no t wr i t e 1/2, bu t .5. A sy s t e m of ty p e st a n d a r d s ba s e d on th i s sc h e hi gh e s t to th e lo w e s t, al l va l u e s may be ex p r e s s e d in on e se r i e s of e mu s t ne c e s s a r i l y ha v e a de c i m a l fr a c t i o n of th e me t e r as it s ba se, an d be di v i d e d de c i m a l l y. A Du o d e c i m a l di v i s i o n of th e me t e r wo fi g u r e s, div i d e d wh e r e re q u i r e d by th e de c i m a l po i n t. Al l vu l g a r fr a c t ul d be ab s u r d o u g h—i t wo u l d be th e ol d in c h an d fo o t in an o t h e r f or m. St i l l mo r e ab s u r d wo u l d be th e gr a f t i n g on th e be a u t i f u l de c i m io n s, no ma t t e r ho w co nve n i e n t , have to gi v e wa y to th i s me t h o d. We a l s i m p l i c i t y o f t h e m e t r i c s y s t e m s u c h e x c e e d i n g l y v u l g a r f r a c t i o n s Bookmania Regular & Regular Italic

BOOKMANIA REGULAR & REGULAR 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 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

18 ON 20 POINT 10 ON 11 POINT 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 m w h at is t h e e s s e n c e o f t h e v a u n t e d m e t r i c e t r i c s y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d s y s t e m? N o t i ts u n it o f m e a s u r e m e n t, c e r t a i m i t t e d l y e r r o n e o u s ge o g r a p h i c m e a s u r nl y. Th a t is fo u n d e d on an ad m i t t e d l y er r o n e e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n ou s geo g r a p h i c me a s u r e. It li e s in it s co n s i s g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m ay b e t e n t u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m ex p r e s s e d in on e se r i e s of fi g u r e s, div i d e d w h e r e r e q u i r e d b y t h e d e c i m a l p o i n e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. t. A l l v u l g a r f r a c t i o n s, n o m a t t e r h o w c o nve n i e n t, h ave t o g i v e w a y t o t h i s m e t Fro m th e hi gh e s t to th e lo w e s t, al l va l u e s m h o d. We m u s t n o t w r i t e 1/2, b u t .5. A s y s ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv t e m o f t y p e s t a n d a r d s b a s e d o n t h i s s c 14 ON 16 POINT 8 ON 9 POINT

wh a t i s t h e es s e n c e of th e va u n t e d me t r i c sy s t e wh a t i s t h e es s e n c e of th e va u n t e d me t r i c sy s t e m? No t m? No t i t s u n i t o f me a s u r e m e n t, ce r t a i n l y. Th a t is f o u n d e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c it s u n i t o f me a s u r e m e n t, ce r t a i n l y. Th a t is fo u n d e d on an me a s u r e. It li e s in it s co n s i s t e n t us e of th e on e de ad m i t t e d l y er r o n e o u s geo g r a p h i c me a s u r e. It li e s in it s co c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i es an d ca p a c i t y. Fro m th e hi gh e s t to th e lo w e s t, a ns i s t e n t us e of th e on e de c i m a l div i s i o n in al l me a s u r e s o l l v a l u e s may b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, div i d e d wh e r e re q u i r e d by th e de c i m a l po i n t. Al f le n g t h, su p e r fi c i e s an d ca p a c i t y. Fro m th e hi gh e s t to th e l vu l g a r fr a c t i o n s, no ma t t e r ho w co nve n i e n t , have 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 t w r i t e 1/2, lo w e s t, al l va l u e s may be ex p r e s s e d in on e se r i e s of fi g u r e bu t .5. A sy s t e m of ty p e st a n d a r d s ba s e d on th i s s c h e m e m u s t n e c e s s a r i l y h a v e a d e c i m a l f r a c t i o n s, div i d e d wh e r e re q u i r e d by th e de c i m a l po i n t. Al l vu l g a r of th e me t e r as it s ba s e, an d be di v i d e d de c i m a l l y. fr a c t i o n s, no ma t t e r ho w co nve n i e n t , have to gi v e wa y to t A D u o d e c i m a l d i v i s i o n o f t h e m e t e r w o u l d b e a b

12 ON 13 POINT 6 ON 7 POINT

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 m e t r i c s y s t e m? N o t i t s u n i 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 m e t r i c s y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m ay b e e x p r r o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e c i m a 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 t t e r h o w c o nve n i e n t, h ave e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n 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 t w r i t e 1/2, b u t .5. A s y s t e d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m ay b e e x p m o f t y p e s t a n d a r d s b a s e d o n t h i s s c h e m e m u s t n e c e s s a r i l y h a v e a d e c i m a l f r a c t i o n o f t h e m e t e r a s i t s b a s e, a n d b e d i v i d e d d e c r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e i m a l l y. A D u o d e c i m a l d i v i s i o n o f t h e m e t e r w o u l d b e a b s u r d e n o u g h—i t w o u l d b e t h e o l d i n c h a n d f o o t i n a n o t h e r f o r m. S t i l l m o r c i m a 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 t t e r h o w c o nve n i e n t, h ave e a b s u r d w o u l d b e t h e g r a f t i n g o n t h e b e a u t i f u l d e c i m a l s i m p l i c i t Bookmania Semibold & Semibold Italic

BOOKMANIA SEMIBOLD & 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

18 ON 20 POINT 10 ON 11 POINT 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 what is the essence of the vaunted metri m e t r i c s y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a c system? Not its unit of measurement, cer n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c m tainly. That is founded on an admittedly er e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r roneous geographic measure. It lies in its e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l consistent use of the one decimal division u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, div i d e d wh e r e re q u i r e d by th in all measures of length, superficies and c e de c i m a l po i n t. Al l vu l g a r fr a c t i o n s, n o m a t t e r h o w c o nve n i e n t, h ave t o g i v e apacity. From the highest to the lowest, al w a y t o t h i s m e t h o d. We m u s t n o t w r i t l values may be expressed in one series of 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 14 ON 16 POINT 8 ON 9 POINT

wh a t i s t h e es s e n c e of th e va u n t e d me t r i c sy s t wh a t i s t h e es s e n c e of th e va u n t e d me t r i c sy s t e m? No e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a t i t s u n i t o f me a s u r e m e n t, ce r t a i n l y. Th a t is fo u n d e d on p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h e a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h n it s co n s i s t e n t us e of th e on e de c i m a l div i s i o n in al l m e l o w e s t, a l l v a l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h e c i m a 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 t t e r h o w c o nve n i e n t, h ave t o g i v e w a y t o t h i s m e t h o d. i gh e s t t o t h e l o w e s t, a l l v a l u e s m ay b e e x p r e s s e d i n o n We mu s t no t wr i t e 1/2, bu t .5. A sy s t e m of ty p e st a n d a r d s b a s e d o n t h i s s c h e m e m u s t n e c e s s a r i l e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e c i y ha v e a de c i m a l fr a c t i o n of th e me t e r as it s ba s m a 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 t t e r h o w c o nve n i e, an d be di v i d e d de c i m a l l y. A Du o d e c i m a l di v i s

12 ON 13 POINT 6 ON 7 POINT

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 m e t r i c s y s t e m? N o t i t s u n it 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 m e t r i c s y s t e m? N o t i t s u n i t of me a s u r e m e n t, ce r t a i n l y. Th a t is fo u n d e d on an ad m i t t e d l y er r on e o u s geo g r a p h i c me a s u r e. It li e s in it s co n s i s t e n t us e of th e o of me a s u r e m e n t, ce r t a i n l y. Th a t is fo u n d e d on an ad m i t t e d l y er r ne de c i m a l div i s i o n in al l me a s u r e s of le n g t h, su p e r fi c i e s an d ca pa c i t y. Fro m th e hi gh e s t to th e lo w e s t, al l va l u e s may be ex p r e s s o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h e o ed in on e se r i e s of fi g u r e s, div i d e d wh e r e re q u i r e d by th e de c i m a 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 t t e r h o w c o nve n i e n t, h ave t o ne de c i m a l div i s i o n in al l me a s u r e s of le n g t h, su p e r fi c i e s an d ca 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 t w r i t e 1/2, b u t .5. A s y s t e m pa c i t y. Fro m th e hi gh e s t to th e lo w e s t, al l va l u e s may be ex p r e s s of ty p e st a n d a r d s ba s e d on th i s sc h e m e mu s t ne c e s s a r i l y ha v e a de c i m a l fr a c t i o n of th e me t e r as it s ba s e, an d be di v i d e d de c i m a e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e c i m l l y. A D u o d e c i m a l d i v i s i o n o f t h e m e t e r w o u l d b e a b s u r d e n o u g h—i t w o u l d b e t h e o l d i n c h a n d f o o t i n a n o t h e r f o r m. S t i l l m o r e a 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 t t e r h o w c o nve n i e n t, h ave t o ab s u r d wo u l d be th e gr a f t i n g on th e be a u t i f u l de c i m a l si m p l i c i t y Bookmania Bold & Bold Italic

BOOKMANIA BOLD & BOLD 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 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

18 ON 20 POINT 10 ON 11 POINT 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 what is the essence of the vaunted metric m e t r i c s y s t e m? N o t i t s u n i t o f m e a s u system? Not its unit of measurement, certai r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c nly. That is founded on an admittedly erro m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e neous geographic measure. It lies in its co a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, nsistent use of the one decimal division in a l l v a l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r all measures of length, superficies and cap e d b y t h e d e c i m a 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 t t e r h o w c o nve n i e n t, h acity. From the highest to the lowest, all val ave t o g i v e w a y t o t h i s m e t h o d. We m ues may be expressed in one series of figu u s t n o t w r i t e 1/2, b u t .5. A s y s t e m o f t 14 ON 16 POINT 8 ON 9 POINT

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 m e t r i c s 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 m e t r i c s y s t e m? y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c m e a s u r e. t u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t I t l i e s i n i t s c o n s i s t e n t u s e o f t h e o n e d e c i m a l d iv i s i o h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. e r e q u i r e d b y t h e d e c i m a 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 t t e r h o w c o nve n i e n t, h ave t o g i v Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m ay b e e x e w a y t o t h i s m e t h o d. We m u s t n o 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 b a s e d o n t h p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i i s s c h e m e m u s t n e c e s s a r i l y h a v e a d e c i m a l f r r e d b y t h e d e c i m a 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 t a c t i o n o f t h e m e t e r a s i t s b a s e, a n d b e d i v i d e

12 ON 13 POINT 6 ON 7 POINT

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 m e t r i c s y s t e m? N o t i t s u n 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 m e t r i c s y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m l y e r r o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e c i m a 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 t t e r h o w c o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c o nve n i e n t, 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 t w r i t e i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m 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 b a s e d o n t h i s s c h e m e m u s t n e c e s s a r i l y h a v e a d e c i m a l f r a c t i o n o f t h e m e t e r a s i t s b a ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r s e, a n d b e d i v i d e d d e c i m a l l y. A D u o d e c i m a l d i v i s i o n o f t h e m e t e r w o u l d b e a b s u r d e n o u g h—i t w o u l d b e t h e o l d i n c h a n d f o e d b y t h e d e c i m a 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 t t e r h o w c o t i n a n o t h e r f o r m. S t i l l m o r e a b s u r d w o u l d b e t h e g r a f t i n g o Bookmania Black & Black Italic

BOOKMANIA BLACK & BLACK ITALIC 1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLIC 1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s 1964 DESIGN TREND, 1969 TYPOGRAPHIC STYLE, 1975 CLIC 1. Small Caps. 2. Old Style Figures. 3. Swashes. 4. Alternates Miller & Richard’s Antique No. 7, Bruce’s Bartlett Old Style, ATF’s

18 ON 20 POINT 10 ON 11 POINT 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 what is the essence of the vaunted metric d m e t r i c s y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d system? Not its unit of measurement, cer e d o n a n a d m i t t e d l y e r r o n e o u s ge o tainly. That is founded on an admittedly g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h e o n e d e c i m a l d iv i s i erroneous geographic measure. It lies in o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s its consistent use of the one decimal divi t t o t h e l o w e s t, a l l v a l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv sion in all measures of length, superficie i d e d w h e r e r e q u i r e d b y t h e d e c i m a 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 s and capacity. From the highest to the lo t t e r h o w c o nve n i e n t, h ave t o g i v e w west, all values may be expressed in one a y t o t h i s m e t h o d. We m u s t n o t w r i t 14 ON 16 POINT 8 ON 9 POINT

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 m e t r i c s 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 m e t r i c s y s t e m? y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e d e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c m e a s u n t u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o r e. I t l i e s i n i t s c o n s i s t e n t u s e o f t h e o n e d e c i m a l d m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a w h e r e r e q u i r e d b y t h e d e c i m a 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 t t e r h o w c o nve n i e n t, h p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a l u e s m 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 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 ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w s b a s e d o n t h i s s c h e m e m u s t n e c e s s a r i l y h a h e r e r e q u i r e d b y t h e d e c i m a l p o i n t. A l l v u l g a r f r a c v e a d e c i m a l f r a c t i o n o f t h e m e t e r a s i t s b a s

12 ON 13 POINT 6 ON 7 POINT

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 m e t r i c s y s t e m? N o t i t s u 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 m e t r i c s y s t e m? N o t i t s u n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t e d l y e r r o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t n i t o f m e a s u r e m e n t, c e r t a i n l y. T h a t i s f o u n d e d o n a n a d m i t t u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a e d l y e r r o n e o u s ge o g r a p h i c m e a s u r e. I t l i e s i n i t s c o n s i s t e n t l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r e r e q u i r e d b y t h e d e c i m a 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 u s e o f t h e o n e d e c i m a l d iv i s i o n i n a l l m e a s u r e s o f l e n g t h, s u t t e r h o w c o nve n i e n t, 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 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 b a s e d o p e r fi c i e s a n d c a p a c i t y. Fr o m t h e h i gh e s t t o t h e l o w e s t, a l l v a n t h i s s c h e m e m u s t n e c e s s a r i l y h a v e a d e c i m a l f r a c t i o n o f t h e m e t e r a s i t s b a s e, a n d b e d i v i d e d d e c i m a l l y. A D u o d e c i m l u e s m ay b e e x p r e s s e d i n o n e s e r i e s o f fi g u r e s, d iv i d e d w h e r al di v i s i o n of th e me t e r wo u l d be ab s u r d en o u g h—i t wo u l d b e r e q u i r e d b y t h e d e c i m a 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 e t h e o l d i n c h a n d f o o t i n a n o t h e r f o r m. S t i l l m o r e a b s u r d w LATIN CAPITALS SWASH & ALTERNATE SMALL CAPS (ACCENTED CHARACTERS NOT SHOWN) A B C D E F G H I J K L M N O P Q R S T U V W X Y Z& A A A A A A A A A A A A A A A A A A A A A A A Á À Â Ä Ã Å Ā Ă Ą ÆǼ Ç Ć ČĈ ĊĎ Đ É È Ê ËĒ Ĕ Ę Ě A A AAÆ Æ Æ Æ B B B C C C C C C D D D D ŊĞ ĢĜ Ġ Ĥ ĦÍ Ì Î Ï Ī ĮĨ Ĭ IJ ĴĶ Ł Ĺ Ļ ĽĿ Ñ Ń Ņ Ň Ó Ò Ô E E E E E E E EE Ŋ� Ŋ F F F F F FG G G H H H H H Õ Ø Ō ŐŎ ǾŒ Ŕ Ŗ Ř Š Ś Ş ȘŜ Ţ ŤŦ Ú Ù Û Ü Ū Ů Ű I J J K K K K K K K KK KK K K K K� �L L ŲŬ Ũ ŴÝ Ŷ ỲŸ Ž Ź Ż Ð Þ LL L L L L L L L L L� �M M M M M M M M M LATIN LOWERCASE M M M MM M M M MN N N N N N N N N N N N a b c d e f g h i ı j k l m n o p q r s ſ t u v w x y z �O O Œ P P Q Q Q Q R R R RR � � S S S S Sẞ ẞ á à â ä ã å ā ă ą æ ǽ ç ć č ĉ ċ ď đ é è ê ë ē ĕ ę ě ŋ ğ ģ ĝ ġ ħ ĥ í ì î ï T T T T T T T� U U U U U U V V VV VV V V V V ī į ĩ ĭ ij j ĵķ ł ĺ ļ ľ ŀ ñ ń ņ ň ʼn ó ò ô ö õ ø ō ő ŏ ǿ œ ŕ ŗ ř š ś ş ș ŝ ß ţ ť ŧ W W W W W W W W W W X X XX X XX X X X ú ù û ü ū ů ű ų ŭ ũ ẃ ŵ ẁ ẅ ý ŷ ỳ ÿ ž ź ż ð þ X XX X X X X X Y Y Y Y Y YY Y Z Z� Þ Þ Þ Þ� LATIN LOWERCASE SUPERIORS � èⁿ FLOATING ACCENTS LATIN SMALL CAPS ˆ ` ´ ˜ ¨ ˘ ˇ ˙ ˚ ¯ ˝ ˛ ¸  ̒ a b c d e f g h i j k l m n o p q r s t u v w x y z& LOWERCASE LIGATURES á à â ä ã å ā ă ą æǼ ç ć čĈ ď đ é è ê ëĒ ĕ Ę Ě Ŋğ ģĜ Ġ Ħí ì î � ff fh fi fj fk fl ffb ffiffj ffk ffl ï ī į ĩ ĭ ijĴ ķ ł ĺ ļ ľ ŀ ñ ń ņ ň ó ò ô ö õ ø ō ő ŏ ǿ œ ŕ ŗ ř š ś ş ș PROPORTIONAL & TABULAR LINING FIGURES Ŝţ ť ŧ ú ù û ü ū ů ű ųŬ ũ ŵ ý ŷ� ÿ ž ź ż ð þ 1234567890 1234567890 SWASH & ALTERNATE CAPITALS (ACCENTED CHARACTERS NOT SHOWN) PROPORTIONAL & TABULAR OLDSTYLE FIGURES A A A A A A A A A A A A A A A A A A 1�234567890 11234567890 A A A A A A A A AÆ ÆÆ Æ Æ SUPERSCRIPT AND SCIENTIFIC INFERIOR FIGURES B B B CC C C C C Cx � � � D D D D EE (-−.,$¢1234567890)(-−.,$�¢1234567890) E E E E E EE Ŋ Ŋ ŊF F F F F F G G G HH FRACTION FIGURES H H H H H I JJ KK K K K K K K K K (-−.,$⁾ 1234567890⁄1234567890 (-−.,$$ ) K K K K K K K KA� L L L L L L L L L PRE-BUILT FRACTIONS L L L L � � LxL xM M M M M M M M 1/2 1/4 3/4 M M M M MM M MM M NN N N N CURRENCY (STANDARD AND OLDSTYLE) N N N N N N N N N N N � O O Œ P P $$¢£€ƒ¥₡₣₧¤ $$¢£€ƒ¥₡₣₧ Q Q Q Q R R RR R RA� S SS SS ẞ ẞ ẞ T OTHER FIGURE-RELATED CHARACTERS (STANDARD AND OLDSTYLE) T T TT T T Th � � � � � U U U U U #%‰ #%‰ U U U V V V V V V V V V V V W W MATHEMATICAL OPERATORS W W W W W W W W W X X XX XX +−×÷=≈≠±<>≤≥¬|¦^~◊√∫µ∂∑∏πΩ∆ X X XX X X X X X X X X X X YY , DELIMITERS AND CONJOINERS Y Y Y Y Y Y Y Y Z Z �Þ Þ Þ & & _-–—()[]{} ()[]{} /\ SWASH & ALTERNATE LOWERCASE (ACCENTED CHARACTERS NOT SHOWN) QUOTES a a a æ b b c c c � � � dd ee e e e e e ff f f ff ff ff '"‘’“”‚„‹›«» ff ff fifi fi fi flfl fl fl fl fl ffi ffi ffi ffi ffi ffl ffl ffl ffl ffl ffl ffl g g gg g g g g g g � g g h h h h h h h h i � jj j j k .,:;…!?¡¿·!?¡¿ k k k k k k k k k k l l l m m mm m nn n nn � MISCELLANEOUS o o � œ pp p q q q q rr r rı r r s ss s s s s s s st st st st ß ®©℗™ •@*†‡§ ¶ ° ℓ ℮   ß ß t t t t t t t u vv v ww w x xx x x x x x y y y y UPPERCASE VARIANTS y y y y zz z þþ þ þ þ ‹›«»()[]{}-–—·•¡¿ LATIN ITALIC CAPITALS SWASH & ALT. ITALIC SMALL CAPS (ACCENTED CHARACTERS NOT SHOWN) A B C D E F G H I J K L M N O P Q R S T U V W X Y Z A A A A A A A A A A A A A A A A A A A A A A &Á À  Äà ŠĀ Ă Ą ÆǼ Ç Ć ČĈ ĊĎ Đ É È Ê ËĒ Ĕ Ę A A A AAÆÆ Æ Æ B B B C C C C C C D D D Ě ŊĞ ĢĜ Ġ Ĥ ĦÍ Ì Î Ï Ī ĮĨ Ĭ IJ ĴĶ Ł Ĺ Ļ ĽĿ Ñ Ń Ņ Ň Ó Ò D E E E E E E E EE Ŋ� Ŋ F F F F F FG G G H H H H Ô Õ Ø Ō ŐŎ ǾŒ Ŕ Ŗ Ř Š Ś Ş ȘŜ Ţ ŤŦ Ú Ù Û Ü Ū Ů H I J J K K K K K K K KK KK K K K K� �L Ű ŲŬ Ũ ŴÝ Ŷ ỲŸ Ž Ź Ż Ð Þ L LL L L L L LL L L L� �M M M M M M M M M LATIN ITALIC LOWERCASE M M M MM M M M MN N N N N N N N N N N N a b c d e f g h i ı j k l m n o p q r s ſ t u v w x y z �O O Œ P P Q Q Q Q R R R RR � � S S S S Sẞ ẞ á à â ä ã å ā ă ą æ ǽ ç ć č ĉ ċ ď đ é è ê ë ē ĕ ę ě ŋ ğ ģ ĝ ġ ħ ĥ í ì î ï T T T T T T T� U U U U U U V V VV VV V V V V ī į ĩ ĭ ij j ĵķ ł ĺ ļ ľ ŀ ñ ń ņ ň ʼn ó ò ô ö õ ø ō ő ŏ ǿ œ ŕ ŗ ř š ś ş ș ŝ ß ţ ť ŧ W W W W W W W W W W X X XX X XX X X X ú ù û ü ū ů ű ų ŭ ũ ẃ ŵ ẁ ẅ ý ŷ ỳ ÿ ž ź ż ð þ X XX X X X X X Y Y Y Y Y Y Y Y Z Z� Þ Þ Þ Þ� LATIN ITALIC LOWERCASE SUPERIORS � èⁿ ITALIC FLOATING ACCENTS LATIN ITALIC SMALL CAPS ˆ ` ´ ˜ ¨ ˘ ˇ ˙ ˚ ¯ ˝ ˛ ¸  ̒ a b c d e f g h i j k l m n o p q r s t u v w x y z& ITALIC LOWERCASE LIGATURES á à â ä ã å ā ă ą æǼ ç ć čĈ ď đ é è ê ëĒ ĕ Ę Ě Ŋğ ģĜ Ġ Ħí ì î � ff fh fi fj fk fl ffb ffi ffj ffk ffl ï ī į ĩ ĭ ijĴ ķ ł ĺ ļ ľ ŀ ñ ń ņ ň ó ò ô ö õ ø ō ő ŏ ǿ œ ŕ ŗ ř š ś ş ș ITALIC PROPORTIONAL & TABULAR LINING FIGURES Ŝţ ť ŧ ú ù û ü ū ů ű ųŬ ũ ŵ ý ŷ� ÿ ž ź ż ð þ 1234567890 1234567890 SWASH & ALTERNATE ITALIC CAPITALS (ACCENTED CHARACTERS NOT SHOWN) ITALIC PROPORTIONAL & TABULAR OLDSTYLE FIGURES A A A A A A A A A A A A A A A A A A 1�234567890 11234567890 A A A A A A A A AÆÆ Æ Æ Æ ITALIC SUPERSCRIPT AND SCIENTIFIC INFERIOR FIGURES B B B CC C C C C Cx � � � DD D D EE (-−.,$¢1234567890)(-−.,$�¢1234567890) E E E E E EE Ŋ Ŋ Ŋ F F F F F F G G G HH ITALIC FRACTION FIGURES H H H H H I JJ KK K K K K K K K K (-−.,$⁾ 1234567890⁄1234567890 (-−.,$$ ) K K K K K K K K� L L L L L L L L L PRE-BUILT ITALIC FRACTIONS L L L L � � LxL x MM M M M M MM 1/2 1/4 3/4 M M M M MM M M M M NN N N N ITALIC CURRENCY (STANDARD AND OLDSTYLE) N N N N N N N N N N N �O O Œ P P $$¢£€ƒ¥₡₣₧¤ $$¢£€ƒ¥₡₣₧ Q Q Q Q RR R R R �� SS S SS ẞ ẞ ẞ T OTHER FIGURE-RELATED ITALIC CHARACTERS (STANDARD AND OLDSTYLE) T T TT T T � � � � � � U U U U U #%‰ #%‰ U U U V V V V V V V V V V V W W ITALIC MATHEMATICAL OPERATORS W W W W W W W W W X X XX XX +−×÷=≈≠±<>≤≥¬|¦^~◊√∫µ∂∑∏πΩ∆ X X XX X X X X X X X X X X YY ITALIC DASHES, DELIMITERS AND CONJOINERS Y Y Y Y Y Y Y Y Z Z �Þ Þ Þ & & _-–—()[]{} ()[]{} /\ SWASH & ALTERNATE ITALIC LOWERCASE (ACCENTED CHARACTERS NOT SHOWN) ITALIC QUOTES a a a æ b b c c c � � � dd ee e e e e e ff f f ff ff '"‘’“”‚„‹›«» ff ff ff fifi fi fi flfl fl fl fl fl ffi ffi ffi ffi ffi ffl ffl ffl ffl ffl ITALIC PUNCTUATION ffl ffl g g gg g g g g g g � g g h h h h h h h h i � jj j j k .,:;…!?¡¿·!?¡¿ k k k k k k k k k k l l l mm m m m nn n n n � MISCELLANEOUS ITALIC o o of œ pp p q q q q rr r rı r r s s s s s s s s ss st st st ß ®©℗™ •@*†‡§ ¶ ° ℓ ℮   ß ß t t t t t t t u vv v ww w x xx x x x x x y y y y ITALIC UPPERCASE VARIANTS y y y y zz z þþ þ þ þ ‹›«»()[]{}-–—·•¡¿ Stylistic Sets 1–20 provide access to alternate characters designed to give Bookmania a different look. Sets may be combined when software allows. Bookmania includes descriptive names for stylistic sets. These names will appear instead of generic “Set 1, Set 2, Set 3...” in applications that support it. Accented characters are not shown in this table, but are fully represented. Stylistic Sets require application and/or operating system support. table of stylistic sets Off (Standard Appearance) On (With Stylistic Set Applied)

Set 1 Cursive Forms on a, g, & y angry angry angry angry Set 2 Roman/Italic Alternates Qg&$ Qg&$ Qg&$ Qg&$

Set 3 Commoncase Caps on A, E, M, & N AMERICAN AMERICAN AMERICAN AMERICAN Set 4 Jenson “e” eagles eagles eagles eagles Set 5 Traditional Old Style Figure One 1910 1910 1910 1910

Set 6 Wavy Crossbars on A, F, & E RAFTERS RAFTERS rafters rAFtErs

Set 7 Other Alternates WAVMSELQe WAVMSELQe wavmselq WAVMSELQ

Set 8 Curved A Antique Antique antique Antique

Set 9 Wrapping C and L Lake Calhoun Lake Calhoun Lake Calhoun Lake Calhoun

Set 10 Top Left Swash, Straight A B D E... A B D E... a b d e... a b d e... table of stylistic sets (continued) Off (Standard Appearance) On (With Stylistic Set Applied)

Set 11 Top Left Swash, Curved A M N T... A M N T... a M N t... a M N t... Set 12 Middle Swash, Curled A A M O... A A M O... a a m o... a a m o...

Set 13 Middle Swash, Wavy A a T t k s... A a T t k s... A a T t k s... A a T t k s...

Set 14 Bottom Left Swash, Medium A H N X... A H N X... a h n x... a h n x...

Set 15 Bottom Left Swash, Short A H M f... A H M f... A H M f... A H M f...

Set 16 Bottom Left Swash, Long A G M S... A G M S... A G M S... A G M S...

Set 17 Bottom Right Swash, Short C E K R... C E K R... c e k r... c e k r...

Set 18 Bottom Right Swash, Long C E K R... C E K R... c e k r... c e k r...

Set 19 Top Right Swash, Short H K N W... H K N W... k n w x... k n w x...

Set 20 Top Right Swash, Long H K N W... H K N W... k n w x... k n w x... ABOUT THE SWASH CHARACTERS STYLISTIC MAPPING (PLAIN, ITALIC, BOLD, BOLD ITALIC)

It might be possible to design a font like this to have swash PLAIN ITALIC BOLD BOLD ITALIC characters chosen automatically somehow, but there are just too Light Italic many possibilities. Therefore, I believe that the selection of swash Regular Italic Bold Bold Italic characters is best left in the hands of the user. Besides, choosing Semibold Italic swashes is part of the fun of using Bookmania. Black Italic

USING THE PALETTE In many applications, you can apply italic or bold styling to a font. Doing so will have the effects listed in the table above. Only the Swash characters can be selected and inserted from the glyph regular style will accept the bold style. If bold is applied to the palette or glyph window in your graphics application. Professional other weights (light, semibold, or black), please be aware that a applications such as InDesign, Illustrator, and QuarkXPress have fake bold may be produced in some applications. this capability. This is probably the simplest way to use swash characters. LANGUAGES SUPPORTED Afrikaans, Albanian, Asu, Basque, Bemba, Bena, Bosnian, Catalan, Chiga, Colognian, Cornish, Croatian, Czech, Danish, Dutch, Embu, English, Esperanto, Estonian, Faroese, Filipino, Finnish, French, Friulian, Galician, Ganda, German, Gusii, Hungarian, Icelandic, Inari Some applications, such as InDesign CC, offer other ways to Sami, Indonesian, Irish, Italian, Jola-Fonyi, Kabuverdianu, Kalaal- visually select alternate characters, such as displaying them below lisut, Kalenjin, Kamba, Kikuyu, Kinyarwanda, Latvian, Lithuanian, the selected character in a pop-up menu. Lower Sorbian, Luo, Luxembourgish, Luyia, Machame, Makhuwa- Meetto, Makonde, Malagasy, Malay, Maltese, Manx, Meru, Mori- syen, North Ndebele, Northern Sami, Norwegian Bokmål, Norwe- gian Nynorsk, Nyankole, Oromo, Polish, Portuguese, Romanian, Romansh, Rombo, Rundi, Rwa, Samburu, Sango, Sangu, Scottish Gaelic, Sena, Shambala, Shona, Slovak, Slovenian, Soga, Somali, Spanish, Swahili, Swedish, Swiss German, Taita, Teso, Turkish, USING STYLISTIC SETS Turkmen, Upper Sorbian, Vunjo, Walser, Welsh, Western Frisian, If you are using Bookmania as a webfont, it is not possible to Zulu specify swash directly. However, via CSS, you can use note: Access to extended language features requires application stylistic sets, which are supported by most modern web browsers. and/or operating system Unicode support. By applying specific stylistic sets individually or in combinations to characters in your text, you can cause any of the hundreds of OPENTYPE FEATURES SUPPORTED swash character to be displayed. These “recipes” and more details Small Caps from Lowercase, All Small Caps, Swash Characters, are available in a separate document, The Bookmania Cookbook, Standard Ligatures, Discretionary Ligatures, Historical Ligatures, at which may be downloaded at marksimonson.com. Stylistic Alternates, Stylistic Alternate Sets, Contextual Alternates, Example Recipe Case-Sensitive Forms, Ordinals, Class-Based , Proportional Lining Figures, Tabular Lining Figures, Proportional Oldstyle Let’s say you want to get this look: Figures, Tabular Oldstyle Figures, Fractions, Superscript, and Scientific Inferior. Note: Access to OpenType features requires application and/or American Splendor operating system support for OpenType. Start with this text: American Splendor Then, using CSS, apply the following stylistic sets to the characters to get the swash glyphs: A = A + ss07 + ss10 + ss16 = r + ss19 + ss20 r Note: If contextual alternates (calt) is enabled, the "ri" will appear automatically. S = S + ss10 n = n + ss17 Copyright 2017 Mark Simonson. = r + ss13 “Bookmania” is a trademark of Mark Simonson Studio. r v. 1.007

MO &marksimonson.com