Goudy was one of America's most prolific designers of metal type. He worked under the influence of theArts and Crafts movement, and many of his designs areold-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 asWilliam Morris.[1]Eric Sloane, who was his neighbour as a boy, recalled that he also took inspiration fromhand-painted signs.[2] He also developed a number of typefaces influenced byblackletter medieval manuscripts,illuminated manuscript capitals andRoman square capitals carved into stone.[3] This means that several of his most famous designs such asCopperplate 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, geometricDidone 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 completedA 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 fires which burned down his studio in 1908 and again in 1939. Indeed, in his autobiography Goudy sometimes said he had little memory of some of his earlier designs. He worked extensively with his wifeBertha, who particularly collaborated with him on printing projects. He listed his typefaces with numbers in a similar way to theopus numbers used by composers.
The first page of Goudy's bookElements of Lettering (1922), exemplifying his interest in the history of printing. The book was typeset by his wifeBertha Goudy in his font Kennerley Old Style and printed by his friendMitchell 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 avoidedsans-serif designs, though he did create the nearly sans-serifCopperplate 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.[1][13] 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. Newpantograph engraving technology made it easier to rapidly engravematrices), the moulds in which metal type would be cast or thepunches 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, byhot metal typesetting, and his clientMonotype was one of the most popular manufacturers of these systems, in competition with that ofLinotype. Both allowedmetal 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 thematrices 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, withDeepdene offering a strikinglyuprightitalic, Goudy Modern merging traditional old-style letters with the insistent, horizontal serifs ofDidone faces of the eighteenth and nineteenth centuries and several such asGoudy Old Style being sold with aswash italic for display use.[16][17] His sans-serif series,Goudy Sans, adopts an eccentrichumanist 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]
The printerDaniel Berkeley Updike, while respecting some of his work, echoed Goudy's studentDwiggins' comment that his work lacked 'a certain snap and acidity'.[25][26][27][a] He also wrote that Goudy had "never gotten over" a desire to imitate medieval books.[28]
The essayPrinting byWilliam Morris, reprinted by Goudy's Village Press in 1903
The British printerStanley Morison, also a veteran of fine book printing whose career atMonotype 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'sTimes 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 towardssans-serifs and sharpgeometric type leaving his work out of favor.[30]
Walter Tracy, a leading historian of type design, devoted a section of his bookLetters of Credit to a critical assessment of Goudy's work. He was impressed by Goudy Old Style, the blackletter Goudy Text, Goudy Heavy and to a certain extent Deepdene, but felt that Goudy was over-fond of eccentric detailing, such as a "restless" tilted 'e' common in early printing, and felt that Goudy's prolific work rate had prevented him from critically assessing his designs. He noted as an example how his "Bertham" type, named in memory of his late wife ("Bertha M."),[31] was drawn and engraved in sixteen working days: "there cannot have been much time for the objective scrutiny which every design should undergo before it is allowed to emerge from the workshop."
Goudy gave hisblackletter designs the adjectivetext, short for 'textura'. This designation was common in Goudy's time; it is now avoided due to confusion with fonts intended for body text.
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/orbold 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.
Camelot (1896,Dickinson Type Foundry), Goudy designed only the capitals, lower-case letters were later added, presumably by Dickinson's type designerJoseph W. Phinney or his team. A delicate Art Nouveau-inspired display face with small wedge serifs.[32]
Unnamed (1896) this was a second set of drawings sent to Dickinson Type Foundry that he sent them after they had acceptedCamelot. It was neither accepted nor cast, but Goudy numbered it among his faces.
Display Roman (1897, nc), based on some lettering in an issue of the British magazineThe Studio. Goudy numbered it among his designs, though even he was unsure of what exactly it was beyond being "a display letter leaning to the bold side" or if it had ever been manufactured.
A sample advertisement set in Pabst Old Style from the American Type Founders specimen book of 1923
Pabst Old Style orPabst Roman (1902,ATF), based on hand lettering done by Goudy for advertisements for thePabst Brewing Company, though commissioned by Schlesinger & Mayer, aChicago department store. Cast byATF with the proviso that the department store would have the exclusive use of the font for a time before it would be offered to the public. The design had a strikingly lowx-height.[33]
Pabst Roman Italic (1903,ATF), a companion to the above. Cut byRobert Wiebking, who would work extensively with Goudy in the following years.
Goudy's hand-lettering for the children's bookMother Goose. Several of his early typefaces were inspired by or similar to his work in this volume. Image is Goudy's own copy.
Powell (1903, Keystone Foundry), commissioned by one Mr. Powell, then advertising manager for Mandel Brothers department store (earlier he had commissionedPabst Old Style for another store), and named after him.[34] Another display type, partially inspired by lettering Goudy had done for the children's bookMother Goose, a design which Goudy felt had been pirated by theInland Type Foundry as their font 'Hearst'. To give the font a differentcolour to Pabst or the 'Hearst' font, Goudy attempted to balance thex-height and height of theascenders anddescenders differently.
Goudy reported in his autobiography that Keystone later created a matching italic.
TheVillage series was a family named after Goudy's own Village Press, which came to use it.
Village (1903,Wiebking, Harding & Co.[35]), cut byWiebking. It was originally designed forKuppenheimer & Company for advertising use, who later decided it would be too expensive to cast, and later bought by Frederick Sherman. The design was very much under the influence ofWilliam Morris's'Golden' type, itself influenced by the 1470s printing ofNicolas Jenson, as well as other (mostly British) fine printers such as the Doves, Montaigne and Merrymount presses. The matrices are still extant and cast byDale Guild Foundry.[citation needed]
Cushing Italic Goudy thought that Clarence C. Marder asked him to draw an italic to complementATF's existingCushing Roman sometime after 1904. However, Goudy was unsure whether they ultimately used his design, and ATF catalogs show it as existing as early as 1898.
Barron's Boston News Letter (1904,ATF), a private face cut forClarence W. Barron's financial newsletter, matrices cut byWiebking. Goudy wrote in 1946 that he had no knowledge of what became of the design and little memory of what it was.
Engravers' Roman (1904, nc), inspired by copperplate engraving. Goudy was uncertain if this type had ever been cast.
Copperplate Gothic from a 1912 ATF brochure
Copperplate Gothic (1905,ATF), originally designed forMarder, Luse, & Co., ATF immediately adopted it and made it the first in a hugely successful series: Clarence C. Marder andMorris Fuller Benton later cut dozens of variations for ATF. 'Gothic' was a contemporary term forsans-serif typefaces; it has nothing to do with 'gothic' orblackletter writing. Master printer J.L. Frazier, no great fan of sans-serif types, wrote of it in 1925 that it was a popular choice for the stationery of professionals such as lawyers and doctors: "a certain dignity of effect accompanies...due to the absence of anything in the way of frills."[38][b]
Caxton initials in an American Type Founders specimen
Caxton Initials (1905,ATF), a font included twenty-six 'Lombard capitals' and one leaf ornament only.
Globe Gothic Bold
Globe Gothic Bold (1905,ATF), a companion toMorris Fuller Benton's 'Globe Gothic'. Sans-serif design with variable stroke width.[39] Utterly unlike Goudy's normal work, and created on commission. Goudy wrote that it "is the least satisfactory (to me) of all my types. Phinney paid me a sum that at that time I considered liberal, and I have never been able to free my mind from the suspicion that he wished to help me financially more than he required such a type for his foundry…Gerry Powell of A.T.F. insists that it sold in considerable quantities, but I have never come across many pieces of printing showing it."
Caslon Revised (1905, never cast), for A.T.F. Caslon was a very popular typeface in the American printing of the period, becoming almost a genre with many derivatives and expansions. Clarence Marder of A.T.F. asked Goudy to draw a more regular version of the design, intended to have a more even colour on the page than the original design. Ultimately never cast.
Sample image of Goudy Light
Goudy Light Roman + Italic (1908,Lanston Monotype), originally made for use inLife magazine (who, Goudy reported, ultimately never used it) and initially called "Monotype 38E" after its order number. Sometimes known asGimbel because of its use in ads forGimbel's Department Store.[40] An elegant design, which Goudy described as better-adapted for advertising and display use than for body text.
Norman Capitals (1910, privately cast byATF), cut for Munder-Thompson Company, aBaltimore printing firm, and named for Norman Munder. Goudy was unsure what became of the font, although he held a specimen of it and reproduced it in his memoir.
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 byRobert Wiebking. Some were private commissions, others were cut first and then offered for sale.
The Kennerley Series, named for New York publisherMitchell Kennerley, was Goudy's first major success in his own style.[41] Goudy described the design as extremely loosely suggested by the 'Fell Types', a set of type in theDutch style collected byBishop John Fell ofOxford for theOxford University Press: "comparison of my type with the Fell letter will disclose little more than an identity of spirit."[42] Others have compared it in some details, notably the tilted understroke on the 'e' of which Goudy was fond, to the type of late 15th century Venetian printerNicolas Jenson.[43] Many revivals and digitisations have been released since.[44][45]
Goudy Forum on a metal type specimen sheetGoudy Forum on an advertisement
Forum Title (1911,Lanston Monotype), capitals only, based on the lettering on theArch of Titus in theRoman Forum.[46][47][48] Distinguishable from some of Goudy's other Roman-inspired fonts by theGreek-inspired curving capital 'Y' in the tradition of the Greek letterupsilon.[c] Quite soft in appearance, which Tracy found "too much of a good thing".
Sherman (1910), privately cast for publisher Frederick Sherman who never used it. After the death of Sherman and new ownership by his niece, Elizabeth Sherman Engelhardt, original proofs and remaining metal type were donated toSyracuse University for use exclusively by its faculty and students. The Sherman typeface was brought back to life and digitally redrawn by Chester Jenkins in 2016.[53][54][55]
Goudy Lanston (1912, Village Letter Foundry) Initially named 'Goudy Old Style', but in 1915, when ATF requested this name for his new face for them, Goudy agreed and renamed it.26 Lead Soldiers noted that "Goudy's own Village Foundry was long the sole source of this face, 14-point roman only". WhenLanston Monotype bought and issued the face, it was again renamed, in honour of Tolbert Lanston; it was originally calledGoudy Antique. Issued inEngland, with some alterations, byCaslon under the nameRatdolt. Evidently, this altered English version, was issued under the namesFoster andMoore byBarnhart Brothers & Spindler along with a "matching" italic (see below).
Goudy Roman (1914), originally designed for Louis Orr of the Bartlett Press who was supposed to have them cast byCaslon Foundry, but Caslon refused to take on new work due to a "war scare". Later,Barnhart Brothers & Spindler expressed interest in the project cut trial matrices, which Goudy did not like, so he eventually cut the matrices himself. It is unclear if the type was ever cast in quantity.
A sample of Goudy Old Style in metal type. Note the very tight descenders, clearest on the 'p' and 'q'.[52]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 forAmerican Type Founders and all of his matrices were cut in house by ATF.
Described as 'an instant best-seller' by Lawson inAnatomy of a Typeface, Goudy Old Style (1915) has remained popular since its creation forATF as a body text and display face.[56] 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 byHans Holbein (Goudy did not say which). The dots (tittles) on the 'i' and 'j' are diamond-pattern, and thedescenders were kept short at ATF's insistence to allow tight line setting on theircommon line system.[52] Many revivals have been released.[57][58] 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 textbook26 Lead Soldiers described the bold as 'better known' than the regular.
A sample of Goudy Cursive, showing alternate capitals, 'g' and 'x'
Booklet Old Style (1916,ATF), apparently never marketed. Proof shown in Goudy's memoir.
A specimen of National Oldstyle in American Type Founders' 1923 specimen book
National Old Style (1916,ATF), quite similar to hisNabisco.[60]
Unnamed (1917), Goudy had zinc etchings made of this face and pulled proofs, which dissatisfied him. He scrapped the face and the drawings are now in theLibrary of Congress.
Advertiser's Roman (1917, nc), patterns were cut but never cast, all traces lost in Goudy's 1939 studio fire.
LTC Goudy Initials, a modern digitisation of Cloister Initials
Hadriano Lower Case (1930, nc), designed by Goudy for Monotype but never cut. In 1932 Monotype released a full-font that consisted ofHadriano Title matched withKennerley Bold lower case letters.
Goudy Open in metal type at 60pt, showing a variant swashed 'Q'
Goudy Open (1918, Village Letter Foundry + 1924,Monotype Ltd. + 1927,Continental), matrices cut byWiebking. An open face design (similar toImprint Shadowed) but influenced byDidone or Modern serif fonts, such asDidot andBodoni. The influence is visible in exactly horizontal serifs on letters with ascenders, very different to other Goudy 'open face' designs.[63] Goudy's aim was to 'redeem' the Didone letterform by letting more white space into it, in order to preserve the outline area and bulk of the letterforms while reducing the area of ink on the page.
Goudy Open Italic + Modern Italic (1919, Village Letter Foundry + 1924,Monotype Ltd.), matrices cut byWiebking. The normal italic was this time made first, then the open design.
Collier Old Style (1919,ATF), a private type for Proctor & Collier, aCincinnati advertising agency, matrices cut byWiebking.
Goudy's Lining Gothic design of 1921
Lining Gothic (1921, nc), a caps-only, almost sans-serif design with small wedge serifs on the stroke ends. Drawings for this face were complete, but whenWiebking was late in cutting the matrices, the order was cancelled and Goudy lost interest in the design. Example prints are shown in Goudy's autobiography andElements of Lettering. Writing in 1946, he noted that had he resumed work, he could have anticipatedKabel andFutura with the design. It is also strikingly similar toAlbertus of over a decade later.
Nabisco (1921, privately cast), cut for theNational Biscuit Company based on the hand-lettered logotype he had done for them twenty years ago, matrices cut byWiebking.
One of Goudy's most popular typefaces in his lifetime, Garamont (1921,Lanston Monotype + 1927,Continental) was loosely based on metal types in theImprimerie nationale, the French government printing-office, that were at the time thought to be the work ofClaude Garamont. Research byBeatrice Warde, published in 1926, revealed that actually these designs were the work ofJean Jannon, working more than fifty years after Garamond's death.[69][70] An elegant sample created byBruce Rogers was shown in a spring 1923 issue of Monotype's magazine.[71] Garamont features a large range ofswash characters.Mosley has described it as "a lively type, underappreciated I think."[72]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.[73]
Italian Old Style + Italic (1924,Lanston Monotype + 1927,Continental)[75][76] Often confused with some other faces of the same name, it is notable for its 'A' with serifs on either side of the top.[d] It was used to set Goudy's autobiography.
Goudy Heavy in metal type
Goudy Heavy Face + Italic (1925,Lanston Monotype + 1927,Continental), intended to compete withCooper Black.[80] An ultra-bold typeface with minimal stress in the old-style pattern;Walter Tracy, not always a fan of Goudy's type designs, thought it "one of Goudy's best" and "superior" to its competitors.
Marlborough (1925,Village Letter Foundry + 1927,Continental), a private face designed for a printer who lost interest in the project before completion. The matrices were cut byWiebking and a few fonts were cast by Goudy, and these were destroyed in Goudy's studio fire of 1939. A revised version of this design was sold toLanston Monotype in 1942, but Monotype apparently did not release it. A picture is shown in Goudy's 1946 memoir.
Venezia Italic (1925,Monotype Ltd.), made at the request of type designerGeorge W. Jones to accompany hisVenezia Roman.
From 1926 until his death, Goudy cut all of his own faces (at least in the pilot sizes).[81] From 1927-1929, Goudy cast type at his own Village Letter Foundry and marketed them through theContinental Type Founders Association. After 1929 he ceased casting his own fonts and they were cast forContinental by the New England Type Foundry.[82]
Goudy Antique (1926, privately cast byVillage Letter Foundry + 1927,Continental), the first type matrices actually cut by Goudy himself.
Aries (1926), privately cast for Spencer Kellogg'sAries Press. A medieval-inspired design with upper- and lower-case.[83]
Goudy Uncials (1927, nc), drawings were completed, all traces lost in Goudy's 1939 studio fire.
Companion Old Style + Italic (1927,Lanston Monotype), a private face cut for theWoman's Home Companion magazine. Created with a very full character set, including italic swash caps and small capitals. A set of matrices survives in the collection of the Tampa Book Arts Studio.[84] A favourite of Goudy's, who felt it showed more 'consistent original features than any other face I have ever made' (Tracy did not like it). (TheCompanion would later become one of the first magazines in the USA to switch toTimes New Roman in 1943.[85]) 2021 digitization bySteve Matteson.[86][87]
A crisp design inspired by a typeface designed in the Netherlands, which Goudy's Paul Bennett wrote wasJan van Krimpen's Lutetia.[88] 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.[89][90] Named after Goudy's home in Marlborough.
Deepdene (1927,Continental, laterLanston Monotype) Changes were made to fit Monotype's machine composition system.
Goudy's italic typewriter font, made for Remington
Remington Typewriter (1927,Lanston Monotype) Though intended to be used onRemington typewriters, it was eventually picked up by Monotype. An attempt to avoid the feeling of unevenness of monospaced typefaces (which tend to make letters like 'i' seem too wide and 'W' too squashed) through creating an italic design.[91] Goudy wrote that although he was paid well for the design, he did not know if it had ever been used by Remington.
Record Title (1927), inspired by Roman capitals, privately cast forArchitectural Record magazine at the commission of Charles DeVinne, grandson of the famous printer and type designer,Theodore Low De Vinne.[92]
Goudy Dutch (1927, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire. Based on the handwriting of a letter from a correspondent in the Netherlands, rather than on Dutch printing styles.
Goudytype (1928,ATF), designed and cut in 1916, not cast and sold until later.
Goudy Text in a modern digitisation
Goudy Text (1928,Continental, laterLanston Monotype) Originally named 'Goudy Black'.[93][94] Ablackletter design, "text" is short fortextura, another term for blackletter. Tracy admired it as "wholly admirable...the letters are very well matched to each other and produce a fine result when composed in text."
Inscription Greek (1929, nc), a font of the elevenGreek capitals not found in the Roman alphabet. These were intended to be used withKennerley Old Style small caps to form a Greek font.
Lombardic Capitals in metal type
Lombardic Capitals (1929,Continental +Lanston Monotype), capitals only, intended to serve as alternate, decorative capitals forGoudy Text.[95][96]
Goudy Sans Serif series An eccentric display-oriented sans-serif design with a highly calligraphic italic. Considered little-used by Goudy in his memoir, although digitised and revived several times since.[19][20][21][22]
Goudy Sans Serif Heavy orSans Serif Bold (1929,Lanston Monotype)
Unnamed (two faces) (1930), two designs with job numbers from 1930 were destroyed in the fire of 1939. Nothing else known.
Goudy Trajan in a modern digitisation
Trajan Title (1930,Continental, laterMonotype Ltd.), a private face in the U.S., it was marketed in England and Europe by British Monotype.[98]
Mediaeval (1930,Continental). A free, romanised blackletter, inspired by 'a twelfth-century South German manuscript hand', and popular in Goudy's lifetime.[99][100]
Advertisers Modern (1930, privately cast), cut for the Manuel Rosenberg, publisher ofThe Advertiser. Apparently little-used, but Goudy retained a proof, shown in his autobiography.
Goudy Stout in a modern digitisation
Goudy Stout, only cut in 24 pt. capitals. Quirky typeface in thefat face genre. Goudy described it as unpopular in his lifetime, but revived several times since.[4] Published 1939,Continental. Digital revivals by Castle Type, Rimmer and byVincent Connare forMicrosoft.[101][102]
Deepdene Open Text (1931,Continental), cut as headings for a book by Edmund G. Greiss. Ablackletter font for titles and headings, intended to complement but not match Deepdene.
Deepdene Text (1931,Continental), basically just a "filled-in" version ofDeepdene Open Text.
Goethe (1932,Continental), basically a lighter version ofGoudy Modern, cut for the Goethe Centenary Exhibition inLeipzig.
Quinian Old Style (1932, nc), named for the editor ofAmerican Mercury who commissioned the type, however the drawings were rejected and subsequently perished in Goudy's studio fire of 1939.
Mostert (1932, nc), inspired by the calligraphy of Annelise Mostert. Project never progressed beyond first round of proofs. Goudy donated Mostert's text sample to the Library of Congress.
Aries (re-cut) (1932,Continental), later sold to Edwin Grabhorn, aSan Francisco printer, who had it cast byLanston Monotype and renamed itFranciscan. Subsequently cast by McKenzie & Harris.[83][106]
Goudy Boldface (1932, nc), level of completion uncertain, records lost in Goudy's 1939 studio fire.
Goudy Book (1933, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire.
Mercury (1933, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire.
Tory Text (1935,Continental),blackletter based on the letters ofGeoffroy Tory. Used only for one book, though one of Goudy's favorites. Capitals later cannibalized forNew Village Text.
Atlantis (1935, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire.
Millvale (1935, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire.
Bertham (1936,Continental), named in memory of Goudy's wife,Bertha M. Goudy, who had died the year before.[58][109] Goudy's 100th typeface, done by request for American Printer Magazine. Based on Leonard Holle's 1482 design.
Pax (1936, nc), matrices were cut, but Goudy was disappointed with the results and never cast the type.
Ampersands (1936, nc), a collection of 65ampersands engraved for the Typophiles club in New York for an article on the topic. A reproduction is in Goudy's 1946 memoirs. Most digitised.[83]
Friar (1937,Continental), designed for his own amusement, Goudy only cast a few fonts of this face in 12 point. Inspired byuncial script but with an upper and lower case.[110]
Goudy's 'California' font (1938,Continental) was cut for theUniversity of California Press. It is a 'Venetian' typeface, loosely inspired by the work ofNicolas 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, byLanston Monotype as 'Californian' and then famously under the name of 'Berkeley Old Style' byITC.
In digital versions, 'California' was released by ITC under its pre-existing brand, as 'Californian' by LTC andFont Bureau (in different digitisations) and by Richard Beatty under the name of 'University Old Style'.[111][112][113][114]
New Village Text (1938,Continental), not a new face but a mongrel cast by Goudy's son consisting of capitals fromTory Text and lower-case letters fromDeepdene Text.
Murchison (1938,Photostat Corporation): an experimental design in the new technology ofcold type or phototypesetting, which did not become popular until after the end of Goudy's life. Named for the president of Photostat Corporation.
Bulmer (1939, nc), an attempt to design a lower-case for fine capitals byWilliam Bulmer, never completed.
Scripps College Old Style (1941), a private face cast forScripps College. Commissioned by college librarian Dorothy Drake, it was intended for the use of students interested in book making. Later released by Monotype.[115][116]
Scrips College Italic (1944)
Spencer Old Style + Italic (1943, nc), commissioned for a large book printing firm but never accepted due to wartime restrictions. Later the design was given toSyracuse University and named for H. Lyle Spencer, dean of the School of Journalism.
Marlborough Text (1944,Continental), a private face for International Printing Company. Though a complete design, only the letters to print "Certificate of Honor" were ever cut.
Goudy Thirty (1953,Lanston Monotype), cut with the intention of being issued after Goudy's death, "thirty" being a newspaper term for the end of the story. Goudy finished work on it in 1942 and Monotype waited several years after his death in 1947 before issuing the font.[117][118] The font is inspired by 'rotunda', a style ofblackletter handwriting popular in southern Europe in the medieval period. Lawson reports that it was not a great financial success for Monotype, as blackletter type was unfashionable at the time, but thatBruce Rogers was a great admirer of the design.[119]
Hearst (1902,Inland Type Foundry). Goudy claimed that this had been copied from lettering he had done for a book of verses for children. It is similar to hisPabst Roman.
Powell Italic (1908, Keystone Foundry), designed in-house by Keystone. Has the distinction of being the first "non-kerning" italic where no character overhangs the body, an idea that proved quite popular. This is accomplished through the use of reverse curves in the taller letters, which first ascend to the right and then curve back to the left to avoid overhanging the next character.[34]
Goudy Bold (1916,ATF) andGoudy Bold Italic (1919,ATF), were designed byMorris Fuller Benton as companions toGoudy Old Style. TheLanston Monotype version of the italic includes cursive capitals bySol Hess.[58] There are some detail differences compared to Goudy Old Style Roman: the 'W' has three terminals not four and there is no serif at bottom right of the 'C'.
Goudy Handtooled + Italic (1922,ATF), were in-line versions ofGoudy Bold + Italic and were probably designed by Charles H. Becker, though other authorities credit eitherMorris Fuller Benton orWadsworth A. Parker. Again, theLanston Monotype version of the italic includes cursive capitals bySol Hess.[58][121] The 1937 textbook26 Lead Soldiers called it "Goudy Bold in a tuxedo." Morison was notably unimpressed by it.
Italian Old Style Wide (1924,Lanston Monotype), designed bySol Hess as a companion to Goudy'sItalian Old Style.
Foster Italic andMoore Italic (1927,BB&S), were designed by Richard N. McArthur, and based on the English alteration ofGoudy Lanston mentioned above.
Hadriano inlined in metal type
Hadriano Stone Cut (1932,Lanston Monotype), was an in-line version ofHadriano Title designed bySol Hess.
Goudy Text Shaded (Lanston Monotype), was designed in house by Monotype.
Pabst Old Style Condensed (Mergenthaler Linotype), was designed in house by Linotype.Pabst Extra Bold, though also cast by Linotype, has no relation to Goudy's face and is actually a knock-off ofCooper Black.
Goudy Fancy (1970s), italic-only, origin uncertain but resembles a more condensed version of Goudy Heavy italic so may be based on that or one of Goudy's lettering projects. Has been digitised by Canada Type as 'Goudy Two Shoes'.[122]
Berkeley Old Style (1983, ITC), adaptation of Goudy's University of California Old Style (1938). See above.
Daylilies, floral capitals based on Goudy Old Style by Judith Sutcliff.[123]
Goudy Swash, aURW++ release of Goudy Old Style Italic (only) with swash caps.[124]
Goudy also cut the matrices forFoster Abstract, an ultra-bold Art Deco block letter designed by his friend Robert Foster. 1931,Continental with matrices cut by Goudy and cast privately.[125] 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.[83][126][127]
^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."
^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."
^Other faces with the name "Italian Old Style" include a British Monotype face (1919, series 108) which has been digitised, itself the light companion to their Jenson/Golden Type adaptation 'Veronese' (1911), and a precedingReed & Sons face (1905) later owned by Stephenson Blake.[77][78][79]
In this list, the named publisher refers to 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 websiteMyFonts.
^Goudy, Frederic W (1939-01-01).Bertha M. Goudy. Recollections by one who knew her best (Frederic W. Goudy). Marlboro, N.Y.: Village Press. p. 6.OCLC504760211.
^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.
"A half-century of type design and typography:" volumes1 and2, The Typophiles, New York, 1946. A complete list of Goudy's type designs with commentary.
Ars Typographisch, (Vol. 1, No. 4, 1934): an occasional journal guest-edited by Goudy for one issue in 1934. Contains Goudy's articleType Design: A Homily
Typographer's Digest, No. 27 (1967): issue dedicated to Goudy's memory. Collects some of Goudy's more obscure writings and fonts, which are shown in a sample at the end.
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