List of typefaces designed by Frederic Goudy

The following is a list of typefaces designed by Frederic Goudy.

Goudy was one of America's most prolific designers of metal type. He worked under the influence of the Arts and Crafts movement, and many of his designs are old-style serif designs inspired by the relatively organic structure of typefaces created between the fifteenth and eighteenth centuries, following the lead of earlier revivalist printers such as William Morris.[1] Eric Sloane, who was his neighbour as a boy, recalled that he also took inspiration from hand-painted signs.[2] He also developed a number of typefaces influenced by blackletter medieval manuscripts, illuminated manuscript capitals and Roman square capitals carved into stone.[3] This means that several of his most famous designs such as Copperplate Gothic and Goudy Stout are unusual deviations from his normal style.[4]

Goudy's taste matched a trend of the period, in which a preference for using mechanical, geometric Didone fonts introduced in the eighteenth and nineteenth century was being displaced by a revival of interest in the 'old-style' serif fonts (preferred by Goudy) developed before this, a change that has proved to be lasting, especially in book body text.[5][6][7][8]

Goudy in 1924

Again unusually for type designers of the period, Goudy wrote extensively on his work and ambitions, partly in order to publicise his work as an independent artisan. He completed A Half-Century of Type Design and Typography, a two-volume survey of all his designs, late in life, in which he discussed all of his work.[9][10] Not all Goudy's designs survive or have been digitised: several, often designs never cut into metal, were lost in a fire which burned down his studio in 1938. Indeed, in his autobiography Goudy sometimes said he had little memory of some of his earlier designs. He worked extensively with his wife Bertham, who particularly collaborated with him on printing projects. He listed his typefaces with numbers in a similar way to the opus numbers used by composers.

Career

The first page of Goudy's book Elements of Lettering (1922), exemplifying his interest in the history of printing. The book was typeset by his wife Bertham Goudy in his font Kennerley Old Style and printed by his friend Mitchell Kennerley.[11]

Unlike most type designers of the metal type era, Goudy worked as an independent designer not permanently employed by any one company, giving him particular latitude to work on his own projects. He generally avoided sans-serif designs, though he did create the nearly sans-serif Copperplate Gothic, inspired by engraved letters, early in his career and a few others later. As an independent artist and consultant, Goudy needed to undertake a large range of commissions to survive, and sought patronage from companies (and, especially later in life, universities) who would commission a typeface for their own printing and advertising.[12] This led to him producing a large range of designs on commission, and promoting his career through talks and teaching.[13][1] As a result, many of his designs may look somewhat similar to modern readers.

Goudy's career took place at a time of progress in printing technology. New pantograph engraving technology made it easier to rapidly engrave matrices), the moulds in which metal type would be cast or the punches used to stamp them in copper.[14] This gave much cleaner results than pre-pantograph punches, which had to be carefully hand-carved at the size of the desired letter, with less difficulty and the ability to prepare designs more easily from large plan drawings.[15]

During the early years of Goudy's career, hand typesetting was being superseded, especially for body text composition, by hot metal typesetting, and his client Monotype was one of the most popular manufacturers of these systems, in competition with that of Linotype. Both allowed metal type to be quickly cast under the control of a keyboard, eliminating the need to manually cast metal type and slot it into place into a printing press. With no need to keep type in stock, just the matrices used as moulds to cast the type, printers could use a wider range of fonts and there was increasing demand for varied typefaces. However, many of Goudy’s designs were used in hand-setting also.

While most of Goudy's designs are 'old-style' serif faces, they do still explore a wide range of aspects of the genre, with Deepdene offering a strikingly upright italic, Goudy Modern merging traditional old-style letters with the insistent, horizontal serifs of Didone faces of the eighteenth and nineteenth centuries and several such as Goudy Old Style being sold with a swash italic for display use.[16][17] His sans-serif series, Goudy Sans, adopts an eccentric humanist style with a calligraphic italic.[18][19] Quite unlike most sans-serif types of the period, it was unpopular in his lifetime but has been revived several times since by both LTC and ITC.[20][21][22]

A brochure cover hand-lettered by Goudy in the early 1900s.

Goudy started his career as a full-time type designer later in life, creating his first font in his early thirties.[23] In his earlier career he had worked first as a bookkeeper, and then as a printer and lettering artist.[24]

Critical assessment

The printer Daniel Berkeley Updike, while respecting some of his work, echoed Goudy's student Dwiggins' comment that his work lacked 'a certain snap and acidity'.[25][26][27][lower-alpha 1] He also wrote that Goudy had "never gotten over" a desire to imitate medieval books.[28]

The British printer Stanley Morison, also a veteran of fine book printing whose career at Monotype had moved in the direction of blending tradition with practicality, admired much of Goudy's work and ethos but wrote that Goudy had "designed a whole century of very peculiar looking types", and that he was glad that his company's Times New Roman did not look "as if it has been designed by somebody in particular - Mr. Goudy for instance."[29] Goudy felt in his later life that his career had been overshadowed by new trends, with modernism and a trend towards sans-serifs and sharp geometric type leaving his work out of favor.[30]

Goudy gave his blackletter designs the adjective text, short for 'textura'. This designation was common in Goudy's time; it is now avoided due to confusion with fonts intended for body text.

Typefaces designed by Goudy

In the following list, italics are listed where Goudy created them, and in some cases other complementary designs completed in a family by designers other than Goudy. Links are given to digitisations, though it should be noted that many revivals may add complementary italics and/or bold weights, even if Goudy never designed one. As many early digitisations were relicensed, several of these may represent the same digitisation marketed by different rights-holders, possibly upgraded with modern features such as contextual ligature substitution and small caps.

1896 to 1904

The essay Printing by William Morris, reprinted by Goudy's Village Press in 1903.
Goudy's hand-lettering for the children's book Mother Goose. Several of his early typefaces were inspired by or similar to his work in this volume. Image is Goudy's own copy.
Copperplate Gothic from a 1912 ATF brochure
Globe Gothic Bold
Sample image of Goudy Light

1911 to 1926

A sample advertisement made with Kennerley Old Style, from a 1915 typeface catalogue

From 1911 to 1926 (with a few exceptions) Goudy's designs were cut by Robert Wiebking. Some were private commissions, others were cut first and then offered for sale.

Kennerley series

The Kennerley Series, named for New York publisher Mitchell Kennerley, was Goudy's first major success in his own style.[40]
Goudy described the design as very loosely based on the 'Fell Types', a set of type in the Dutch style collected by Bishop John Fell of Oxford for the Oxford University Press: "comparison of my type with the Fell letter will disclose little more than an identity of spirit."[41] It has also been compared in some details, notably the tilted understroke on the 'e' to the type of late 15th century Venetian printer Nicolas Jenson.[42] Many revivals and digitisations have been released since.[43][44]

Kennerley Old Style's italic swash capitals


Goudy Forum on a metal type specimen sheet.
Goudy Forum on an advertisement.

1915 to 1926: Cut by ATF

A sample of Goudy Old Style in metal type. Note the very tight descenders, clearest on the 'p' and 'q'.[51]
The set of fonts in the Goudy 'family' in ATF's 1923 specimen book: the Goudy Old Style, Goudy Catalogue and Goudy Handtooled subfamilies. Goudy Cursive is effectively Goudy Old Style with swash caps. The bold and tooled fonts were not drawn by Goudy (see below).

In 1915 and 1916, Goudy was on retainer for American Type Founders and all of his matrices were cut in house by ATF.

Goudy Old Style

Main article: Goudy Old Style

Described as 'an instant best-seller' by Lawson in Anatomy of a Typeface, Goudy Old Style (1915) has remained popular since its creation for ATF as a boy text and display face.[52] Goudy described the design as influenced by capitals on a painting, but later said he was unable to find which, although he thought it was by Hans Holbein (Goudy did not say which). The dots (tittles) on the 'i' and 'j' are diamond-pattern, and the descenders were kept short at ATF's insistence to allow tight line setting.[51] Many revivals have been released.[53][54] Goudy later also designed an italic, and A.T.F. a bold weight and a medium, named 'Goudy Catalogue'.

Goudy Old Style became particularly commonly used for display and advertising use. Indeed, in 1937, the printing textbook 26 Lead Soldiers described the bold as 'better known' than the regular.

A sample of Goudy Cursive, slowing alternate capitals, 'g' and 'x'.
LTC Goudy Initials, a modern digitisation of Cloister Initials
Goudy Open in metal type at 60pt, showing a variant swashed 'Q'.

Goudy Open and Goudy Modern

Goudy Open
Goudy Modern in metal type.
Goudy's Lining Gothic design of 1921

Garamont

Main article: Garamond
Monotype's first showing of Garamont

One of Goudy's most popular typefaces in his lifetime, Garamont (1921, Lanston Monotype + 1927, Continental) was loosely based on metal types in the Imprimerie nationale, the French government printing-office, that were at the time thought to be the work of Claude Garamont. Research by Beatrice Warde, published in 1926, revealed that actually these designs were the work of Jean Jannon, working more than fifty years after Garamond's death.[65][66] An elegant sample created by Bruce Rogers was shown in a spring 1923 issue of Monotype's magazine.[67] Garamont features a large range of swash characters. Mosley has described it as "a lively type, underappreciated I think."[68] LTC's digitisation deliberately maintained its eccentricity and irregularity true to period printing, something Goudy had insisted on in his original design, avoiding perfect verticals.[69]

Goudy Heavy in metal type

1926 to 1929

From 1926 until his death, Goudy cut all of his own faces (at least in the pilot sizes).[75] From 1927-1929, Goudy cast type at his own Village Letter Foundry and marketed them through the Continental Type Founders Association. After 1929 he ceased casting his own fonts and they were cast for Continental by the New England Type Foundry.[76]

Deepdene in metal type

Deepdene series

A crisp design inspired by a typeface designed in the Netherlands, which Goudy's Paul Bennett wrote was Jan van Krimpen's Lutetia.[79] One of Goudy's more popular designs, with several digital revivals, although as of 2016 only LTC's includes the swash capitals and small caps of Goudy's original design conception.[80][81] Named after Goudy's home in Marlborough.

Goudy's italic typewriter font, made for Remington.
Goudy Text in a modern digitisation
Lombardic Capitals in metal type

1930 to 1934

Goudy Trajan in a modern digitisation
Goudy Stout in a modern digitisation

1935 to 1938

University of California Old Style

University of California Old Style in regular and italic styles, compared to two digitisations: Californian FB and ITC Berkeley Old Style Medium.

Goudy's 'California' font (1938, Continental) was cut for the University of California Press. It is a 'Venetian' typeface, loosely inspired by the work of Nicolas Jenson. One of Goudy's most popular designs, several releases exist.

After the original type was commissioned for private use, 'California' was released publicly by different companies, first in 1958, by Lanston Monotype as 'Californian' and then famously under the name of 'Berkeley Old Style' by ITC.

In digital versions, 'California' was released by ITC under its pre-existing brand, as 'Californian' by LTC and Font Bureau (in different digitisations) and by Richard Beatty under the name of 'University Old Style'.[100][101][102][103]

Late designs, 1938 to 1945

"Goudy" faces designed by others

Hadriano inlined in metal type

Goudy also cut the matrices for Foster Abstract, an ultra-bold Art Deco block letter designed by his friend Robert Foster. 1931, Continental with matrices cut by Goudy and cast privately.[114] Goudy personally felt that the design 'violated every canon of type design'.

Considering digital revivals of Goudy's non-character typefaces, P22 has also published an anthology of Goudy's ornament designs, released along with their collection of Goudy's ampersands; Parachute Fonts has also released adaptations of Goudy's initials for Greek and Cyrillic.[115][77][116]

References

In this list, the named publisher describes the company that has digitised the font. The listed website (where given) is a different website/company that offers it on sale at the time of writing if the digitiser does not offer online sale. For example, 'Goudy Light' has been digitised by Red Rooster Fonts, a company who at time of writing sell it through the website MyFonts.

  1. 1 2 Shaw, Paul. "An appreciation of Frederic W. Goudy as a type designer". Retrieved 12 July 2015.
  2. Sloane, Eric (2006). Return to Taos : Eric Sloane's sketchbook of roadside Americana. Mineola, NY: Dover Publications. p. 8. ISBN 9780486447735.
  3. Cameron, Alex. "Type Tuesday: Scholarly and beautiful, a 1918 book by typographer Frederic W. Goudy". Eye Magazine. Retrieved 5 February 2016.
  4. 1 2 Rimmer, Jim. "Poster Paint". Fontspring. Canada Type.
  5. Lawson, A. (1990). Anatomy of a typeface. Boston: Godine, p.200.
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  7. Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - II". Quaerendo 1 (4): 282–301. Retrieved 20 February 2016.
  8. Mosley, James (2003). "Reviving the Classics: Matthew Carter and the Interpretation of Historical Models". In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew. Typographically Speaking: The Art of Matthew Carter. Princeton Architectural Press. pp. 31–34. ISBN 9781568984278. Retrieved 30 January 2016.
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  10. Goudy, Frederic (1946). A Half-Century of Type Design and Typography: 1895-1945, Volume 1. New York: The Typophiles. Retrieved 26 February 2016.
  11. Goudy, Frederic (1922). Elements of Lettering. New York: Mitchell Kennerley. Retrieved 26 February 2016.
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  36. "Village - Font Bureau". MyFonts. Retrieved 26 August 2015.
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  39. Usherwood & Jackaman. "Goudy 38". MyFonts. Red Rooster Fonts. Retrieved 27 August 2015.
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  41. Frederic William Goudy (1940). Typologia: Studies in Type Design & Type Making, with Comments on the Invention of Typography, the First Types, Legibility, and Fine Printing. University of California Press. pp. 48–9. ISBN 978-0-520-03308-5.
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  45. Nolan, John; Steffmann, Dieter. "Goudy Twenty". 1001 Fonts. Typographer Mediengestaltung. Retrieved 27 August 2015.
  46. "LTC Forum Title". MyFonts. LTC. Retrieved 25 February 2016.
  47. Rickner, Tom. "Goudy Forum Pro". MyFonts. Ascender. Retrieved 25 February 2016.
  48. Bixler, M&W. "Poliphilus". Michael & Winifred Bixler.
  49. "Poliphilus specimen". Flickr. Retrieved 9 December 2015.
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  55. "LTC Goudy Oldstyle". MyFonts. Monotype. Retrieved 2 July 2015.
  56. Curtis, Nick. "National Old Style NF". MyFonts. Nick's Fonts. Retrieved 25 February 2016.
  57. Steffmann, Dieter. "Goudy Initialen". 1001 Fonts. Typographer Mediengestaltung. Retrieved 27 August 2015.
  58. "LTC Goudy Initials (more complex Cloister Initials digitisation with negative/positive elements)". MyFonts. LTC. Retrieved 27 August 2015.
  59. "LTC Goudy Open". Myfonts. LTC. Retrieved 26 August 2015.
  60. "Goudy Modern (with review of digitisations)". Fonts In Use. Retrieved 27 August 2015.
  61. "Goudy Modern MT". MyFonts. Adobe/Monotype. Retrieved 25 February 2016.
  62. Sherman, Nick. "Moby Dick, the Arion Press edition". Fonts In Use. Retrieved 28 February 2016.
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  64. http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2006/06/18/MNGAOJENV01.DTL&hw=arion+press&sn=003&sc=660
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  67. Rogers, Bruce (January 1923). "Printer's Note". Monotype: A Journal of Composing Room Efficiency: 23. This issue of Monotype is set in a trial font of a new version of Garamond's design ... the type ornaments, modelled on 16th century ones, will also be available.
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  81. Schwartz, Barry. "Linden Hill". League of Movable Type. Retrieved 27 August 2015.
  82. "LTC Remington". MyFonts. LTC. Retrieved 26 August 2015.
  83. "LTC Record Title". MyFonts. LTC. Retrieved 26 August 2015.
  84. "LTC Goudy Text". MyFonts. LTC. Retrieved 27 August 2015.
  85. "Goudy Text CT". Fontspring. Castle Type. Retrieved 27 August 2015.
  86. "Goudy Lombardy (digitisation with alternates)". Fontspring. CastleType. Retrieved 11 September 2015.
  87. "Goudy Lombardic Caps". Fontspring. Fontsite. Retrieved 11 September 2015.
  88. "LTC Kaatskill". MyFonts. LTC. Retrieved 27 August 2015.
  89. "Goudy Trajan Pro (medium weight free, otherwise commercial release)". CastleType. Retrieved 27 August 2015.
  90. Beatty, Richard. "Goudy Mediaeval". FontShop. Richard Beatty. Retrieved 27 August 2015.
  91. Steffmann, Dieter. "Goudy Mediaeval TM". 1001fonts. Typographer Mediengestaltung. Retrieved 27 August 2015.
  92. Matteson, Steve. "Truesdell". Fontshop. Monotype. Retrieved 27 August 2015.
  93. "LTC Goudy Ornate". MyFonts. LTC. Retrieved 26 August 2015.
  94. "Goudy Ornate MT". MyFonts. Monotype. Retrieved 25 February 2016.
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  96. Beatty, Richard. "Goudy Saks (Richard Beatty)". FontShop. Retrieved 27 August 2015.
  97. Beatty, Richard. "Saks Goudy". Will Harris. Retrieved 27 August 2015.
  98. Matteson, Steve. "Bertham (with added italic)". MyFonts. Ascender. Retrieved 27 August 2015.
  99. "Friar". MyFonts. Ascender. Retrieved 27 August 2015.
  100. "Californian FB". Font Bureau. Retrieved 19 June 2015.
  101. "LTC Californian". MyFonts. LTC. Retrieved 27 August 2015.
  102. "University Old Style (an alternative Berkeley Old Style digitisation by Fontsite)". Fontsite. Retrieved 27 August 2015.
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  104. Beatty, Richard. "Claremont (Scripps digitisation)". Will Harris. Retrieved 27 August 2015.
  105. "Scripps College Old Style". MyFonts. Monotype. Retrieved 27 August 2015.
  106. "LTC Goudy Thirty". P22. LTC. Retrieved 27 August 2015.
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  109. "Goudy Catalog MT". MyFonts. Monotype. Retrieved 31 August 2015.
  110. "LTC Goudy Handtooled". MyFonts. LTC. Retrieved 27 August 2015.
  111. "Goudy Two Shoes". MyFonts. Canada Type. Retrieved 27 August 2015.
  112. "Daylilies and Dayleaves". Will Harris. Judith Sutcliff. Retrieved 25 February 2016.
  113. "Goudy Swash". MyFonts. URW++. Retrieved 25 February 2016.
  114. Bomparte, John. "Abstrak (Abstract Revival)". MyFonts. Bomparte Fonts.
  115. "Goudy Aries Ornaments". MyFonts. Retrieved 17 September 2015.
  116. "PF Goudy Initials". Behance. Parachute Fonts. Retrieved 17 September 2015.
  1. Dwiggins was referring to Goudy Old Style in particular: "Goudy Old Style may be said to be one hundred per cent good in the design of individual letters. When composed in a body, the characters, individually graceful, set up a whirling sensation that detracts somewhat from legibility. That is to say, the curves are perhaps too soft and round, and they lack a certain snap and acidity. The color of the face is excellent. The capitals, when used alone, compose into a strong and dignified line."
  2. Typifying his views, he wrote that 'It is worthy of note that Copperplate Gothic has the tiniest of serifs...sufficient to help its appearance materially. They seem to reduce somewhat the crudity of the letter."
  3. This style of 'Y', sometimes called a 'palm Y', is rare in Roman-alphabet fonts, but it was used by early printer Aldus Manutius, for example in his famous illustrated volume Hypnerotomachia Poliphili, and in the Monotype font Poliphilus based on it.[48][49][50] A more muted form of it is used in Hermann Zapf's Palatino.[51]

External links

Writings by Goudy

Additional sources

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