printing during the nineteenth and twentieth centuries. Phototypesetting period 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. 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 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 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." ITC Bookman 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,