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62-482: Bookman evolved from fonts known as Old Style Antique , released around 1869. These were created as a bold version of the "Old Style" typeface, which had been cut by Alexander Phemister around the 1850s for the Miller & Richard foundry and become a standard, popular book typeface. Old Style Antique has letterforms similar to those of the eighteenth-century typeface Caslon , with a more even and regular structure,

124-408: A bold font weight makes letters of a text thicker than the surrounding text. Bold strongly stands out from regular text, and is often used to highlight keywords important to the text's content. For example, printed dictionaries often use boldface for their keywords, and the names of entries can conventionally be marked in bold. Small capitals ( THUS ) are also used for emphasis, especially for

186-487: A café au lait is a drink of strong drip brewed or French pressed coffee, to which steamed milk is added; this contrasts with a caffè latte , which uses espresso as a base. American café au lait is generally served in a cup, as with brewed coffee, being served in a bowl only at shops which wish to emphasize French tradition. At Starbucks, Cafe Au Lait is known as "Caffe Misto" which is served with 1:1 ratio of French Press brewed Coffee and frothed milk. Café au lait

248-399: A café au lait . In Andalusia , Southern Spain, a similar variation is called manchado (“stained"). In northern Europe, café au lait is the name most often used in coffee shops. At home, café au lait can be prepared from dark coffee and heated milk; in cafés, it has been prepared on espresso machines from espresso and steamed milk ever since these machines became available in

310-418: 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. Although Old Style Antique faces were bolder than Old Style,

372-424: 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

434-560: A different impression than intended. In Chinese , emphasis in body text is supposed to be indicated by using an " emphasis mark " (着重號／着重号), which is a dot placed under each character to be emphasized. This is still taught in schools but in practice it is not usually done, probably due to the difficulty of doing this using most computer software. Consequently, methods used for emphasis in Western text are often used instead, even though they are considered inappropriate for Chinese (for example,

496-590: A dot is placed above each Hangul syllable block or Hanja to be emphasized. In Armenian the շեշտ ( šešt ) sign ( ՛ ) is used. On websites and other Internet services, as with typewriters , rich text is not always available. Asterisks are sometimes used for emphasis (as in "That was *really* bad"). Less commonly, underscores may be used, resembling underlining ("That was _really_ bad"). Periods can be used between words (as in "That. was. really. bad.") to emphasize whole sentences, mimicking when somebody slows down their speech for impact. In some cases,

558-542: 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

620-440: A popular feature of revivals and derivatives. 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". 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. It

682-461: A printed text by the reader. In Arabic, it is traditional to emphasize text by drawing a line over the letters. This is seen in the Quran , where the word at which Sujud Tilawa is performed is overlined. Sometimes quotation marks are used for emphasis. However, this clashes with the general understanding of how the marks are properly used, particularly scare quotes , and can leave the reader with

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744-464: A revival of the Bookmans of this period, has commented on the most common version used in the 1960s: 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

806-779: A single type was available. Although letter-spacing was common, sometimes different typefaces (e.g. Schwabacher inside Fraktur ), underlining or colored, usually red ink were used instead. Since blackletter type remained in use in German speaking parts of Europe much longer than anywhere else, the custom of letter-spacing is sometimes seen as specific to German, although it has been used with other languages, including English. Especially in German, however, this kind of emphasis may also be used within modern type, e.g. where italics already serve another semantic purpose (as in linguistics) and where no further means of emphasis (e.g. small caps) are easily available or feasible. Its professional use today

868-499: A standard baseline, so switching font may distort line spacing. It is still possible using some font super families , which come with matching serif and sans-serif variants, though these are not generally supplied with modern computers as system fonts. In Japanese typography, due to the reduced legibility of heavier Minchō type, the practice remains common. Of these methods, italics, small capitals and capitalization are oldest, with bold type and sans-serif typefaces not arriving until

930-504: 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.) The direct ancestor of Bookmans were several fonts from around 1869 named "Old Style Antique" intended as

992-538: A wide and tall lower-case, and little contrast in line width. Bookman is much bolder than the original Old Style, to which it was intended to be a bold complement, almost to the point of being a slab serif , and evolved its own identity, with American Type Founders giving it its own name and a distinctive set of swash characters , with which it is often associated. The 1924 textbook Introduction to Advertising described Bookman as having "the impression of reliability without heaviness". The ancestor of Bookman Old Style

1054-508: A word, unless essential, for example the Modern Language Association "discourages the use of italics in academic prose to emphasize or point, because they are unnecessary—most often, the unadorned words do the job without typographic assistance". Although emphasis is useful in speech, and so has a place in informal or journalistic writing, in academic traditions it is often suggested that italics are only used where there

1116-437: 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. Widely resold and pirated, it became

1178-423: Is a convention that says "set this text in italic type ", traditionally used on manuscript or typescript as an instruction to the printer . Its use to add emphasis in modern documents is a deprecated practice. In web pages, hyperlinks are often displayed with underlines – to identify them as such rather than to emphasize them. Underlining is also used for secondary emphasis, i.e. marks added to

1240-724: Is a danger of misunderstanding the meaning of the sentence, and even in that case that rewriting the sentence is preferable; in formal writing the reader is expected to interpret and understand the text themselves, without the assumption that the precise intended interpretation of the author is correct. Italics are principally used in academic writing for texts that have been referenced, and for foreign language words. Similarly capitals and underlining have particular meanings, and are rarely used in formal writing for emphasis. Caf%C3%A9 au lait Café au lait ( / ˌ k æ f eɪ oʊ ˈ l eɪ , k æ ˌ f eɪ , k ə -/ ; French: [kafe o lɛ] ; French for "coffee with milk")

1302-480: Is a lot of further elaborate terminology for clarifying the desired strength of the coffee, its roasting, the temperature at which the final product is to be served, ... In the French-speaking areas of Switzerland , a popular variation is the café renversé (“reverse coffee"), or commonly just renversé , which is made by using the milk as a base and adding espresso, in reversal of the normal method of making

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1364-615: Is a popular drink in New Orleans , available at coffee shops like Café du Monde and Morning Call Coffee Stand , where it is made with milk and coffee mixed with chicory . Unlike the European café style, a New Orleans-style café au lait is made with scalded milk (milk warmed over heat to just below boiling), rather than with steamed milk. The use of roasted chicory root as an extender in coffee became common in Louisiana during

1426-495: 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

1488-416: 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. In Monotype Bookman the italic was redrawn to be a true italic similar to ITC Bookman. Though

1550-790: Is coffee with hot milk added. It differs from white coffee , which is coffee with cold milk or other whiteners added. In France it is typically served as a breakfast drink, often as a large portion in a handleless bowl. In Europe , café au lait stems from the same continental tradition as caffè latte in Italy , café con leche in Spain , kawa biała ("white coffee") in Poland , Milchkaffee ("milk coffee") in Germany , tejeskávé in Hungary, koffie verkeerd ("incorrect coffee") in

1612-533: Is difficult to trace. These designs, for MacKellar, Smiths, & Jordan Co. in Philadelphia and Miller & Richard in Edinburgh were then copied and extended by a series of American type foundries, according to Ovink in a mixture of sizes based on the two foundries' designs. (During the period many fonts once created were copied by other foundries, in some cases probably illegally by electrotyping, making

1674-503: Is to increase the spacing between the letters , rather than making them darker, but still achieving a distinction in blackness. This results in an effect reverse to boldface: the emphasized text becomes lighter than its environment. This is often used in blackletter typesetting and typewriter manuscripts, but by no means restricted to those situations. This letter-spacing is referred to as sperren in German, which could be translated as "spacing out": in typesetting with letters of lead,

1736-679: Is used analogously to italics in Latin text. Post-print emphasis added by a reader is often done with highlighters which add a bright background color to usual black-on-white text. Syntax highlighting also makes use of text color. There are many designs. With both italics and boldface, the emphasis is correctly achieved by swapping into a different font of the same family; for example by replacing body text in Arial with its bold or italic style. Professional typographic systems, including most modern computers, would therefore not simply tilt letters to

1798-528: Is very limited in German. This use of spacing is also traditionally found in Polish. German orthographic (or rather typographic) rules require that the mandatory blackletter ligatures are retained. That means, ſt , ch , ck , and tz are still stuck together just as the letter ß , whereas optional, additional ligatures like ff and ſi are broken up with a (small) space in between. Other writing systems did not develop such sophisticated rules since spacing

1860-639: The American Civil War , when Union naval blockades cut off the Port of New Orleans , forcing citizens to stretch out the coffee supply. In New Orleans, café au lait is traditionally drunk while eating beignets dusted with powdered sugar, which offsets the bitterness of the chicory. The taste for coffee and chicory was developed by the French during their civil war. Coffee was scarce during those times, and they found that chicory added body and flavor to

1922-763: 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. 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. This family includes two OpenType fonts, both Roman and Italic with all accompanying swash characters and alternates. Bookmania

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1984-670: The Netherlands and Flanders , cafè amb llet (“coffee with milk") in Catalan Countries and café com leite (“coffee with milk") in Portugal and Brazil . The Portuguese language has many more terms for slightly different forms and served either in a large cup or in a glass, such as meia de leite or galão . In Italy , numerous variations go from a simple caffè latte to latte macchiato to cappuccino . In both Italian and Portuguese languages, there

2046-522: 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. Boldface In typography , emphasis is the strengthening of words in a text with a font in a different style from the rest of the text, to highlight them. It is the equivalent of prosody stress in speech. The most common methods in Western typography fall under

2108-486: The 1940s—thus it merely refers to a "coffee and milk" mixture, depending on the location, not to a specific drink. Café au lait and caffè latte are used as contrasting terms, to indicate whether the beverage is served in the "French" or the "Italian" way, the former being in a white porcelain cup or bowl, the latter in a kitchen glass and always made from an espresso machine, whereas café au lait might be espresso- or dark coffee-based. In many American coffeehouses ,

2170-537: The 1960s and 1970s. An exception is Bitstream's digitisation of the Linotype Bookman of the 1930s. Because of ITC Bookman's status as a basic part of the Postscript standard, many modern Bookman revivals and variants were created as a "metrically identical" alternative, or copy it due to its popularity. These include 'Revival 711' by Bitstream , and 'BM' by Itek. The current Monotype version of Bookman

2232-546: The bold-style numbers take up the same width as the regular (non-bold) numbers, so a bold-style total lines up below the digits of the sum in regular style. Linguistics professor Larry Trask stated that "It is possible to write an entire word or phrase in capital letters in order to emphasize it", but adds that "On the whole, though, it is preferable to express emphasis, not with capital letters, but with italics." Many university researchers and academic journal editors advise not to use italics, or other approaches to emphasizing

2294-501: 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

2356-605: 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. 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. (Linotype's has been digitised by Bitstream based on its design from this period form, making it one of

2418-428: 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: 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

2480-418: The effect of italic or boldface be imitated by algorithmically altering the original font. The modern Latin-alphabet system of fonts appearing in two standard weights, with the styles being regular (or "Roman"), italic, bold and bold italic is a relatively recent development, dating to the early twentieth century. Modern "Roman" type was developed around the 1470s, while italic type was developed around 1500 and

2542-493: The emphasis changes the " blackness " of text, sometimes referred to as typographic color. A means of emphasis that does not have much effect on blackness is the use of italics , where the text is written in a script style, or oblique , where the vertical orientation of each letter of the text is slanted to the left or right. With one or the other of these techniques (usually only one is available for any typeface), words can be highlighted without making them stand out much from

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2604-481: The engine behind the text area being parsed will render the text and the asterisks in bold automatically after the text is submitted. Markdown is a common formalization of this concept. Colors are important for emphasizing. Important words in a text may be colored differently from others. For example, many dictionaries use a different color for headwords , and some religious texts color the words of deities red, commonly referred to as rubric . In Ethiopic script , red

2666-470: 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." As Ovink notes, Old Style Antique

2728-698: 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. 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

2790-515: The few digital versions not based on post-war versions.) Other Old Style Antique releases were common in American printing during the nineteenth and twentieth centuries. Many Bookman revivals appeared for phototypesetting systems in the 1960s and 1970s, often including an extensive repertoire of swash characters, meaning that the design is commonly associated with the graphic design of the period. These large character repertoires took advantage of

2852-401: The first line of a section, sometimes accompanied by or instead of a drop cap , or for personal names as in bibliographies. If the text body is typeset in a serif typeface , it is also possible to highlight words by setting them in a sans serif face. This practice is often considered archaic in Latin script, and on computers is complicated since fonts are no longer issued by foundries with

2914-586: The fonts, 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

2976-400: The general technique of emphasis through a change or modification of font: italics , boldface and SMALL CAPS . Other methods include the alteration of LETTER CASE and spacing as well as color and *additional graphic marks*. The human eye is very receptive to differences in "brightness within a text body." Therefore, one can differentiate between types of emphasis according to whether

3038-583: 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." ITC Bookman is a revival designed by Ed Benguiat in 1975, for the International Typeface Corporation . Benguiat developed

3100-512: 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. Letraset created one revival during this period. 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

3162-484: The nineteenth century. The house styles of many publishers in the United States use all caps text for: Capitalization is used much less frequently by British publishers, and usually only for book titles. All-uppercase letters are a common substitute form of emphasis where the medium lacks support for boldface, such as old typewriters , plain-text email , SMS and other text-messaging systems. Socially,

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3224-435: The rest of the text (inconspicuous stressing). This is used for marking passages that have a different context, such as book titles, words from foreign languages, or internal dialogue. For multiple, nested levels of emphasis, the font is usually alternated back to (upright) roman script, or quotation marks are used instead, although some font families provide upright italics for a third visually distinct appearance. By contrast,

3286-738: The right to achieve italics (that is instead referred to as slanting or oblique ), print them twice or darker for boldface, or scale majuscules to the height of middle-chamber minuscules (like x and o ) for small-caps, but instead use entirely different typefaces that achieve the effect. The letter 'w', for example, looks quite different in italic compared to upright. As a result, typefaces therefore have to be supplied at least fourfold (with computer systems, usually as four font files): as regular, bold, italic, and bold italic to provide for all combinations. Professional typefaces sometimes offer even more variations for popular fonts, with varying degrees of blackness. Only if such fonts are not available should

3348-485: 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. 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." One 1959 British study of typefaces – albeit one connected to Monotype and carried out by

3410-404: The spacing would be achieved by inserting additional non-printing slices of metal between the types, usually about an eighth of an em wide. On typewriters a full space was used between the letters of an emphasized word and also one before and one after the word. For black letter type boldface was not feasible, since the letters were very dark in their standard format, and on (most) typewriters only

3472-483: The use of all-caps text in Roman languages has become an indicator of shouting when quoting speech. It was also often used in the past by American lawyers to flag important points in a legal text. Coinciding with the era of typewriter use, the practice became unnecessary with the advent of computerized text formatting, although it is still found on occasion in documents created by older lawyers. Another means of emphasis

3534-408: The use of underlining or setting text in oblique type ). In Japanese texts, when katakana would be inappropriate, emphasis is indicated by "emphasis dots" ( 圏点 or 傍点 ) placed above the kanji and any accompanying furigana in horizontal writing and to the right in vertical writing . Japanese also has an "emphasis line" ( 傍線 ) used in a similar manner, but less frequently. In Korean texts,

3596-474: Was commonly used for emphasis by the early 17th century. Bold type did not arrive until the nineteenth century, and at first fonts did not have matching bold weights; instead a generic bold, sometimes a Clarendon or other kind of slab-serif , would be swapped in. In some books printed before bold type existed, emphasis could be shown by switching to blackletter . Some font families intended for professional use in documents such as business reports may also make

3658-735: 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. While John Betjeman liked the design for its association with hymn-books , and used it in several of his books to evoke this atmosphere,

3720-399: Was so uncommon therein. In Cyrillic typography, it also used to be common to emphasize words using letter-spaced type. This practice for Cyrillic has become obsolete with the availability of Cyrillic italic and small capital fonts. Professional Western typesetting usually does not employ lines under letters for emphasis within running text. In proofreading , underlining (or underscoring)

3782-541: 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

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3844-401: 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

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