Bookman (typeface)

File:Old Style.jpg. As the text says, the design was intended to capitalise on a fashion of interest in eighteenth-century "old style" designs, while offering a more delicate and regular structure reflecting how typecutting had evolved towards the Didone style since then. Bookman evolved from bolder versions of this design.{{efn|As with Bookman itself, historically minded designers came to find this recut Old Style dull, following a practice of reverence for eighteenth-century art over that of the nineteenth. Stanley Morison commented "What in Caslon did not conform to Victorian ideas of typographical rectitude had been cast out. Even swash letters were not included. Eyes used to sharpness of cut and regularity of letter-width found both in Old Style."{{cite book|author=Stanley Morison|title=A Tally of Types|url=https://archive.org/details/tallyoftypes0000mori|url-access=registration|date=7 June 1973|publisher=CUP Archive|isbn=978-0-521-09786-4|pages=[https://archive.org/details/tallyoftypes0000mori/page/16 16]–18}}{{cite book|author=William S. Peterson|title=The Kelmscott Press: A History of William Morris's Typographical Adventure|url=https://archive.org/details/kelmscottpresshi0000pete_y2f4|url-access=registration|year=1991|publisher=University of California Press|isbn=978-0-520-06138-5|pages=[https://archive.org/details/kelmscottpresshi0000pete_y2f4/page/25 25]-6, 89, 106}}}}]]

File:Miller and Richard Oldstyle Antique type specimen (16146280364).jpg

The ancestor of Bookman is Miller & Richard's "Old Style", cut by Alexander Phemister. Often described as "modernised old style", it is a redesign of "true old-style" serif faces from the eighteenth century such as Caslon. Like them, it has sloping top serifs and an avoidance of abrupt contrasts in stroke widths. The lower-case letters are quite wide and the x-height (height of lower-case letters) is quite large.{{cite book|author1=Alastair Campbell|author2=Alistair Dabbs|title=Typography Pocket Essentials: The History and Principles of the Art|url=https://books.google.com/books?id=n9DDCAAAQBAJ&pg=PT113|date=10 February 2014|publisher=Octopus|isbn=978-1-78157-155-2|pages=113–8}}{{cite web|last1=Mosley|first1=James|author-link=James Mosley|title=Recasting Caslon Old Face|url=http://typefoundry.blogspot.co.uk/2009/01/recasting-caslon-old-face.html|website=Type Foundry|access-date=1 August 2015}}{{cite journal|last1=Johnson|first1=Alfred F.|author-link1=Alfred F. Johnson|title=Old-Face Types in the Victorian Age|journal=Monotype Recorder|date=1931|volume=30|issue=242|pages=5–14|url=http://www.metaltype.co.uk/downloads/mr/mr_30_242.pdf|access-date=3 February 2017}}{{cite book|last1=Hlasta|first1=Stanley|title=Printing Types and How to Use Them|date=1950|pages=55–6}}{{efn|Some confusion has occurred over this naming, with some using "old-style" to mean typefaces in the eighteenth-century and before, and others, including Miller and Richard, using it to mean revivals in the same style. This article follows Walter Tracy and others in using the term "modernised old style" to avoid confusion, although this phrase was not normal generally in the nineteenth century.{{cite book|author=Bill Bell|title=Edinburgh History of the Book in Scotland, Volume 3: Ambition and Industry 1800-1880|url=https://books.google.com/books?id=qdiqBgAAQBAJ&pg=PA27|date=23 November 2007|publisher=Edinburgh University Press|isbn=978-0-7486-2881-0|pages=27–30}}{{cite book|author=Alexander Nesbitt|title=The History and Technique of Lettering|url=https://books.google.com/books?id=lcHRgDFtBSYC&pg=PA163|year=1998|publisher=Courier Corporation|isbn=978-0-486-40281-9|pages=163–4}}}} Widely resold and pirated, it became a standard typeface and helped to create a genre of a wide range of loose revivals and adaptations of the Caslon design, visible in the wide-spreading arms of the T and the sharp half-arrow serifs on many letters. (Ronaldson Old Style by Alexander Kay (1884) was another, as was Phemister's own later Franklin, created after he had emigrated.{{cite web|title=Ronaldson Old Style|url=http://www.myfonts.com/fonts/canadatype/ronaldson/|website=MyFonts|publisher=Canada Type|access-date=27 November 2015|archive-date=21 November 2015|archive-url=https://web.archive.org/web/20151121194306/http://www.myfonts.com/fonts/canadatype/ronaldson/|url-status=dead}}{{cite news|last1=Quadrat|title=Discursions of a Retired Printer, No. 3|url=https://books.google.com/books?id=wHQeAQAAMAAJ&pg=PA822|access-date=10 August 2017|work=The Inland Printer|date=1906|pages=817–822}})

The direct ancestor of Bookmans were several fonts from around 1869 named "Old Style Antique" intended as a bold complement to the original Old Style face. "Antique" was a common name given to bolder typefaces of the time, now often called slab serifs, and identifies the aim of creating a complementary bolder design on the oldstyle model for uses such as emphasis and headings. However, the old style antique fonts also became used for extended body text use.{{cite book|author=Theodore Low De Vinne|title=The practice of typography: a treatise on the processes of type-making, the point system, the names, sizes, styles and prices of plain printing types|url=https://archive.org/details/typogr00devipracticeofrich|year=1910|publisher=Century Co.|pages=[https://archive.org/details/typogr00devipracticeofrich/page/323 323]–335}}{{efn|The mid-nineteenth century was a period in which the idea that a normal body text font should be sold with its own related bold had not fully evolved: it was common for printers to use an unrelated bolder serif font, then called "Clarendon" or "Antique" types, but now often called "slab serifs", to match their body text face.{{cite book|last1=Tracy|first1=Walter|author-link1=Walter Tracy|title=Letters of Credit|pages=65–6|quote=The other kind of secondary type, the related bold face, is a twentieth-century creation. Although the use of bold type for emphasis in text began when display advertising became a feature of the family magazines of the mid-nineteenth century, the bold types themselves were Clarendons, Ionics and Antiques quite unrelated to the old styles and moderns used for the text. As late as 1938 the Monotype Recorder, a distinguished British journal of typography, could say, “The ‘related bold’ is a comparatively new phenomenon in the history of type cutting.”}}{{cite web|last1=Mosley|first1=James|author-link1=James Mosley|title=Comments on Typophile thread "Where do bold typefaces come from?"|url=http://www.typophile.com/node/31036|website=Typophile|access-date=16 December 2016|quote=For the record, the Clarendon type of the Besley foundry is indeed the first type actually designed as a ‘related bold’ – that is, made to harmonize in design and align with the roman types it was set with. It was registered in Britain in 1845.|archive-url=https://web.archive.org/web/20161220175431/http://www.typophile.com/node/31036|archive-date=20 December 2016|url-status=dead}} So "Oldstyle Antique" signified a bold type with the letterforms of oldstyle typefaces.}} Although Old Style Antique faces were bolder than Old Style, the difference was not great enough that they could not be used for body text.

G. Willem Ovink, a historian of type, writes in his history of the style in 1971 that:{{cite journal|last1=Ovink|first1=G.W.|title=Nineteenth-century reactions against the didone type model - I|journal=Quaerendo|date=1971|volume=1|issue=2|pages=18–31|url=http://booksandjournals.brillonline.com/content/journals/10.1163/157006971x00301|access-date=20 February 2016|doi=10.1163/157006971x00301|url-access=subscription}}{{efn|Note, however, that an unsigned article in "The Printing Art" of 1904 offered a quite different account saying that they were cut first in the 1850s by Phemister himself.{{cite journal|title=Old Style Antique Type|journal=The Printing Art|date=1904|volume=3|issue=6|pages=181–|url=https://books.google.com/books?id=JDBRAAAAYAAJ&pg=PA181|access-date=3 May 2017}} This description does not mention the original Old Style type at all, and so may be confused. In the absence of evidence for this account Ovink's conclusions are used in this article.}}

A bold Old Style was needed. This was indeed produced, almost simultaneously in Philadelphia and in Edinburgh [around 1869] in two distinct designs, both under the name of Old Style Antique. The term 'Antique' probably refers less to historical forms than to the boldness and the stubby serifs of the Egyptians [slab serifs], which were also called antiques. In the 1890s, when such faces as Caslon and Jenson had introduced the notion that all historic romans were bold, their colour and old-style basic forms made the old-style Antiques in the words of De Vinne...'now often used as fair substitutes for older styles of text types,' regardless of their unhistoric origin. The course of development is difficult to trace.

File:'Sonnets from the Portuguese' by Elizabeth Barrett Browning LACMA M.91.375.82.jpg edition of 'Sonnets from the Portuguese' by Elizabeth Barrett Browning, 1898. The Roycroft Press used the family extensively. Alexander Lawson describes this as being intended by founder Elbert Hubbard to copy the dark style of impression favoured by William Morris' Kelmscott Press. It was used by at least one printer around the time period for the same reason.{{cite book|author=William R. Johnston|title=William and Henry Walters, the Reticent Collectors|url=https://books.google.com/books?id=ANUsJaysHWAC&pg=PA105|date=22 September 1999|publisher=JHU Press|isbn=978-0-8018-6040-9|pages=105–7}} Ward also suggests that "its heavy, almost equally weighted lines seemed to go well with the heavy lines of arts and crafts woodcuts."{{cite book|author=Gerald W. R. Ward|title=The American Illustrated Book in the Nineteenth Century|url=https://books.google.com/books?id=JD9sakjGfx0C&pg=PA182|year=1987|publisher=Winterthur Museum|isbn=978-0-912724-17-1|page=182}}]]

These designs, for MacKellar, Smiths, & Jordan Co. in Philadelphia and Miller & Richard in Edinburgh were then copied and extended by a series of American type foundries, according to Ovink in a mixture of sizes based on the two foundries' designs. (During the period many fonts once created were copied by other foundries, in some cases probably illegally by electrotyping, making the evolution of styles complicated to track.) Ovink describes the MacKellar, Smiths, & Jordan Oldstyle Antique as being different for being slightly less bold and having an 'a' with a rounded top and a 'T' with slight curves on top. Theodore De Vinne wrote of the style in 1902 that it was "in marked favour as a text letter for books intended to have more of legibility."{{cite book|author=Theodore Low De Vinne|title=The Practice of Typography: A Treatise on Title-pages, with Numerousillustrations in Facsimile and Some Observations on the Early and Recent Printing of Books|url=https://books.google.com/books?id=KmhBAAAAYAAJ&pg=PA233|year=1902|publisher=Century Company|pages=233–241|isbn=9780838309353}} As Ovink notes, Old Style Antique was used by historically minded printers to emulate the solid style of fifteenth-century typefaces, and in particular to emulate the custom Golden Type used by William Morris at his Kelmscott Press. Printers of the period noted the confusion of the apparently tautologous name, one saying that it reminded him of a joke about a man who ordered café au lait with milk.

By 1903 Old Style Antique was sold by American Type Founders under the new name of Bookman Old Style, with an added 'italic'. ATF did not offer a normal italic, instead featuring an oblique, or "sloped roman", in which the letters are simply slanted. Serif typefaces which use an oblique are now quite rare, but the style was relatively common for display typefaces in the nineteenth and early twentieth centuries. It was sold with some swash capitals and other letters. Although one critic described its swash letters in 1913 as "ridiculous", they would become a popular feature of revivals and derivatives.

File:Linotype Bookman type specimen (15963759907).jpg

Bookman was popular in twentieth-century American printing for its solid colour, wide characters and legibility: one 1946 review commented that it "can stand a lot of mauling".{{cite book|title=Bookbinding & Book Production, Volumes 44-45|date=1946|page=80|url=https://books.google.com/books?id=m98aAQAAMAAJ}} Fine printers and those more interested in the pre-nineteenth century typefaces from which it descended, however, were less impressed by it, finding it dull for its wide, large lower-case and lack of elegance.{{cite book|title=The Inland Printer, Volume 73|date=1924|page=74|quote=The "higher critics" of typedom do not recognise the Bookman type face, but the practical fellows who keep the printing business alive - we refer particularly to the advertisers and their agents - think a lot of it.}} It was most popular in the USA: by the mid-twentieth century, all the Modernised Old Styles had become almost totally eclipsed in British printing except as a backup choice, partly as a result of the dominance of the British Monotype Corporation's extremely successful and well-promoted series of book faces and Linotype's similar series.{{cite book|author=David Finkelstein|title=Edinburgh History of the Book in Scotland, Volume 4: Professionalism and Diversity 1880-2000|url=https://books.google.com/books?id=gdeqBgAAQBAJ&pg=PA122|date=23 November 2007|publisher=Edinburgh University Press|isbn=978-0-7486-2884-1|pages=122–149}} While John Betjeman liked the design for its association with hymn-books, and used it in several of his books to evoke this atmosphere, the slightly younger Philip Larkin described its use in a review of Betjeman's autobiography Summoned By Bells in terms suggesting that he found its use archaic and somewhat ridiculous.{{cite book|first=William S.|last=Peterson|title=John Betjeman: A Bibliography|url=https://books.google.com/books?id=2wLNathQPNgC&pg=PA24|year=2006|publisher=Clarendon Press|isbn=978-0-19-818403-4|pages=24–6}}{{cite book|author=Philip Larkin|title=Required Writing: Miscellaneous Pieces 1955-1982|url=https://books.google.com/books?id=kx6YqO4o-HIC&pg=PT120|date=20 December 2012|publisher=Faber & Faber|isbn=978-0-571-29497-8|pages=120–2}} In 1950 Monotype's marketing manager Beatrice Warde told an audience of Canadian printers that Bookman had not "been used in England in 20 years."{{cite tweet |user= typographica |number=1252485337462403073 |date= 21 April 2020|title= “Mrs. Warde voiced another critical observation of Canadian Printing. ‘You people still consider Bookman & Century Schoolbook too seriously. They haven’t been used in England for 20 years. We treat our readers as respected individuals!‘” B: always selling.}} One 1959 British study of typefaces – albeit one connected to Monotype and carried out by the controversial Cyril Burt, later accused of fabricating research – described Monotype's Oldstyle Antique as "seldom used for ordinary book work" and treated it as a design most appropriate for books for children under 12.{{cite book|title=A Psychological Study of Typography|year = 1959|url=https://books.google.com/books?id=QfU8AAAAIAAJ&pg=PA11|publisher=CUP Archive|pages=11, 30|id=GGKEY:L0XRUJA9NW4}}

Chauncey H. Griffith of the Mergenthaler Linotype Company developed a revival for Linotype's hot metal typesetting system (which was named "Bookman"), and Monotype also offered one.{{cite web|title=Lanston Monotype Bookman specimen|url=http://www.galleyrack.com/images/artifice/letters/press/comptype/monotype/typography/composite-specimen/lanston-monotype-00980-bookman-old-style-00981-bookman-old-style-italic-mtf1-0600grey-0600dpipng.pdf|access-date=27 November 2015}}{{cite web|title=Lanston Monotype Bookman specimen b|url=http://www.galleyrack.com/images/artifice/letters/press/comptype/monotype/typography/composite-specimen/lanston-monotype-00980-bookman-old-style-00981-bookman-old-style-italic-mtf1-0600grey-0600dpipng.pdf|access-date=27 November 2015}}{{efn|Linotype had an "Old Style Antique" version with oblique before 1911.{{cite news|title=This Month's Linotype Faces - Old Style Antique|url=https://books.google.com/books?id=L4HnAAAAMAAJ&pg=PA35|access-date=11 August 2017|work=Linotype Bulletin|date=1911}}}} (Linotype's has been digitised by Bitstream based on its design from this period form, making it one of the few digital versions not based on post-war versions.{{cite web|last1=Hardwig|first1=Florian|title=The Instructor Primary Science Concept Charts|url=http://fontsinuse.com/uses/5197/the-instructor-primary-science-concept-charts|website=Fonts in Use|date=11 November 2013 |access-date=4 February 2017}}) Other Old Style Antique releases were common in American printing during the nineteenth and twentieth centuries.

File:Book, 'The Last Ride' by Robert Browning LACMA M.89.151.32.jpg]]

File:Bookman Meola (7009295151).jpg

Many Bookman revivals appeared for phototypesetting systems in the 1960s and 1970s, often including an extensive repertoire of swash characters, meaning that the design is commonly associated with the graphic design of the period. These large character repertoires took advantage of the new phototypesetting technology, which allowed characters to be stored on film or glass phototype master disks and printed at any desired size, rather than bulky metal type.{{cite web|last1=Lurie-Terrell|first1=Joshua|title=Famous Manwich Recipes 1971|url=http://fontsinuse.com/uses/8389/50-famous-manwich-recipes|website=Fonts In Use|date=8 January 2015 |access-date=27 November 2015}} Letraset created one revival during this period.{{cite web|last1=Priddey|first1=Neil|title=An Old Raincoat Won't Ever Let You Down by Rod Stewart|url=http://fontsinuse.com/uses/8966/an-old-raincoat-won-t-ever-let-you-down-by-ro|website=Fonts In Use|date=22 March 2015 |access-date=27 November 2015}} The separation of type designs from the complex manufacturing process of metal type also allowed for easier cloning of typefaces, meaning that many fonts sold during the period were unauthorised copies or modifications of other companies' designs.

Mark Simonson, who has designed a revival of the Bookmans of this period, has commented on the most common version used in the 1960s:{{cite web|last1=Simonson|first1=Mark|title=Bookmania specimen pdf|url=http://www.marksimonson.com/fonts/view/bookmania|website=Mark Simonson Studio|access-date=27 November 2015}}

I have so far been unable to find out who designed and produced it. I think of it as the "Sixties 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...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 an 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.

One of the most famous results of this period is the 1975 ITC's revival from which many modern versions are descended.

Type designer and lawyer Matthew Butterick has written that as a result of its use in this period Bookman "evokes the Ford administration. If fonts were clothing, this would be the corduroy suit."{{cite web|last1=Butterick|first1=Matthew|title=Bad Fonts|url=http://practicaltypography.com/bad-fonts.html|website=Practical Typography|access-date=29 October 2015}}

ITC Bookman is a revival designed by Ed Benguiat in 1975, for the International Typeface Corporation. Benguiat developed a full family of four weights plus complementary cursive designs: unlike previous Bookman versions, these are true italics in which the letters take on handwriting forms. Benguiat also drew a suite of swash and alternate characters for each of the members of the family. While Bookman's x-height was quite high already, this enlarges the lower-case even more, in the fashion of the period. Fonts for swash and alternate characters were eventually released in OpenType versions of the fonts,[https://web.archive.org/web/20110716114031/http://www.itcfonts.com/Fonts/NewFonts/2006/Jan2006.htm What's Hot From ITC: January 2006] or separately as ITC Bookman Swash.

ITC licensed the design to Adobe and Apple, guaranteeing its importance in digital printing by making it one of the core fonts of the PostScript page description language as part of the Adobe PostScript 3 Font Set. (The weights licensed were Light, Light Italic, Demi, Demi Italic.)

Most digitisations of Bookman are based on the Bookman revivals of the 1960s and 1970s. An exception is Bitstream's digitisation of the Linotype Bookman of the 1930s.{{cite web|title=Bookman Linotype/Bitstream|url=http://www.myfonts.com/fonts/bitstream/bookman/|website=MyFonts|publisher=Bitstream|access-date=27 November 2015}}

Because of ITC Bookman's status as a basic part of the Postscript standard, many modern Bookman revivals and variants were created as a "metrically identical" alternative, or copy it due to its popularity. These include 'Revival 711' by Bitstream, and 'BM' by Itek.

File:Bookman ATF Monotype comparison.png (taller lower-case letters) and several detail differences. Ovink describes the rounded 'a' as being based on the Oldstyle Antique prepared by a Philadelphia foundry, and the straight-topped 'a' as that prepared by Miller & Richard. Visible also is a compressed descender on the 'g' to allow tighter linespacing.]]

File:Bookman Caslon comparison.png (below), scaled to matching cap height. The caps are quite similar but the lower-case letters of this Bookman revival are wider and higher (a higher x-height).]]

The current Monotype version of Bookman is called Monotype Bookman Old Style or marketed as Bookman Old Style. It was designed by Ong Chong Wah. It is based on earlier Lanston Monotype and ATF models, but again was redesigned to match the ITC version. It is bundled with many Microsoft products, making it one of the most commonly used versions of Bookman.{{cite web|last1=Simonson|first1=Mark|title=Monotype's Other Arials|url=http://www.marksimonson.com/notebook/view/monotypes-other-arials|website=marksimonson.com|access-date=21 August 2014}}

In Monotype Bookman the italic was redrawn to be a true italic similar to ITC Bookman. Though the face's name includes the phrase 'Old Style', the near-vertical stress of the face places it more in the transitional classification. This version include support of Cyrillic, Greek, and extended Latin characters.

It was bundled with Microsoft Office products since version 4.3, except in Windows 7 Starter, and in TrueType Font Pack. A retail version of the font is also sold.{{cite web|title=Bookman Old Style|url=https://www.myfonts.com/fonts/mti/bookman-old-style/|website=MyFonts|publisher=Monotype|access-date=3 February 2017}}

File:Super Swash of the Seventies.png were often seen in 1970s graphic design, often quite tightly spaced.]]

Other companies developed similar knockoff fonts matching ITC Bookman's metrics for PostScript compatibility.

URW++ donated their PostScript alternative, known as URW Bookman L, to the Ghostscript project as a free software replacement for the ITC version. It was further enhanced by the Polish GUST foundry as part of their TeX Gyre project and named Bonum.{{cite web|title=URW font ttf conversions|url=http://svn.ghostscript.com/ghostscript/trunk/ghostpdl/urwfonts/|website=Ghostscript|access-date=22 September 2015|archive-url=https://web.archive.org/web/20150919095317/http://svn.ghostscript.com/ghostscript/trunk/ghostpdl/urwfonts/#|archive-date=2015-09-19|url-status=dead}}{{cite web |url=http://www.gust.org.pl/projects/e-foundry/tex-gyre/ |title=The TeX Gyre (TG) Collection of Fonts — GUST Web Presence |access-date=2008-10-01 |archive-date=2023-02-02 |archive-url=https://web.archive.org/web/20230202064510/https://www.gust.org.pl/projects/e-foundry/tex-gyre/ |url-status=dead }}

Jukebox Bookman is a revival of the original Bookman family, designed by Jason Walcott and originally published by Veer. Veer(Corbis) closed permanently in early 2016 but the Jukebox Bookman fonts continue to be offered online through other digital type vendors. {{cite web|title=Jukebox Bookman|url=http://www.myfonts.com/fonts/cbx-jukebox/bookman-jf-pro/|website=MyFonts|access-date=27 November 2015}}

This family includes two OpenType fonts, both Roman and Italic with all accompanying swash characters and alternates.

Bookmania is a revival of Bookman Oldstyle and the Bookmans of the 1960s, designed by Mark Simonson. The design was started from a custom font designed by Mark Simonson back in 2006, which was based on Bookman Bold Italic with Swash, and a Bookman Bold with Swash font designed by Miller & Richard (as credited by Letraset). The italic fonts were redesigned to include optical correction. Unlike the ITC and Monotype revivals, Simonson chose to use the obliques preferred by ATF, offering true italic characters as an alternate.

The family contains a large number of alternate characters, such as swashes and unicase characters.

{{notelist|30em}}

{{reflist|30em}}

{{Commons category|Bookman}}

• [https://archive.org/stream/americanspecimen00amerrich#page/n9/mode/2up ATF's 1912 specimen book]. Many sample settings including ads and newspaper designs.
• [https://archive.org/details/1923AmericanTypeFoundersSpecimenBookCatalogue ATF's 1923 specimen book], their legendary last major specimen before the Depression.
• [https://web.archive.org/web/20091031143219/http://www.jawarts.com/Bookman.htm Bookman JF]
• [https://www.linotype.com/594/itc-bookman-family.html ITC Bookman by Adobe Font Family - by Edward Benguiat]
• [https://www.fonts.com/content/learning/fyti/typographic-reference/itc-bookman-itc-tabula ITC Bookman/ITC Tabula]
• [https://docs.microsoft.com/en-us/typography/font-list/bookman-old-style Microsoft Typography page]
• [http://www.gust.org.pl/projects/e-foundry/tex-gyre/bonum TeX Gyre Bonum, variant based on URW bookman L]
• [http://www.galleyrack.com/images/artifice/letters/press/comptype/monotype/typography/composite-specimen/lanston-monotype-00980-bookman-old-style-00981-bookman-old-style-italic-mtf1-0600grey-0300dpijpg.pdf Early Monotype Bookman metal type specimen] - completely unlike modern Monotype Bookman which copies aspects of the ITC Bookman design.

{{DEFAULTSORT:Bookman (Typeface)}}

Category:Transitional serif typefaces

Category:Old style serif typefaces

Category:Typefaces designed by Chauncey H. Griffith

Category:Typefaces designed by Ed Benguiat

Category:International Typeface Corporation typefaces

Category:Linotype typefaces