List of typefaces designed by Frederic Goudy

Goudy in 1924

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

Goudy, one of America's most prolific designers of metal type, 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 type between the fifteenth and eighteenth centuries.^[1] Eric Sloane, who was his neighbour as a boy, recalled that he also took inspiration from hand-painted signs.^[2]

In contrast to his great contemporary Morris Fuller Benton, Goudy 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 who would commission a typeface for their own printing and advertising.^[3] This led to him producing a large range of designs on commission, and promoting his career through talks and teaching.^[4][1] As a result, many of his designs may look quite similar to modern readers. His career was aided by the new pantograph engraving technology, which made it easier to rapidly cut the matrices used as moulds to form metal type. This was a considerable advance on the traditional method of cutting punches manually at the size of the letter to be printed, which would be stamped into metal to form the matrix.

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 Goudy Old Style being sold with a swash italic for display use.^[5][6] He also developed a number of typefaces influenced by blackletter medieval manuscripts, illuminated manuscript capitals and Roman capitals engraved in stone.^[7] Some of his most famous designs such as Copperplate Gothic and Goudy Stout are unusual deviations from his normal style.^[8] His sans-serif series, Goudy Sans, adopts an eccentric humanist style with a calligraphic italic.^[9][10] 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.^[11][12][13]

Unlike most type designers of the metal type era, Goudy wrote extensively on his work and ambitions. He completed an extensive survey of all his designs late in life, giving his typefaces numbers for his own use in a similar way to the opus numbers used by composers. 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 Bertha, who particularly collaborated with him on printing projects.

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'.^{[14][15][16][lower-alpha 1]} He also wrote that Goudy had "never gotten over" a desire to imitate medieval books.^[17] 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."^[18] Goudy felt in his later life that his career had been overshadowed by new trends, with modernism and a trend towards sharper geometric design making his work out of favor.^[19]

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

1896 to 1910

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.^[20] In his earlier career he also worked as a printer and lettering artist.^[21]

• Camelot (1896, Dickinson Type Foundry), Goudy designed only the capitals, lower-case letters were later added, presumably by Dickinson's type designer Joseph W. Phinney or his team. A delicate display face with small wedge serifs.^[22]
• Unnamed (1896) this was a second set of drawings sent to Dickinson Type Foundry that he sent them after they had accepted Camelot. It was neither accepted nor cast, but Goudy numbered it among his faces.
• Display Roman (1897, nc), based on a design in The Studio. Goudy numbered it among his designs, though even he was unsure of what exactly it was or if it were ever cast.
• DeVinne Roman (1898, Central Type Foundry, ATF), a book face based on a display type that had been earlier commissioned by Theodore Low De Vinne.
• Pabst Old Style or Pabst Roman (1902, ATF), based on hand lettering done by Goudy for advertisements for the Pabst Brewing Company, though commissioned by Schlesinger & Mayer, a Chicago department store. Cast by ATF 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. These were the first matrices cut by Robert Wiebking for Goudy. The design had a strikingly low x-height.^[23]
  • Pabst Roman Italic (1903, ATF)
• Powell (1903, Keystone Foundry), commissioned by one Mr. Powell, then advertising manager for Mandel Brothers department store (earlier he had commissioned Pabst Old Style for another store), and named after him.^[24]
• Village series: initially used by Goudy's own Village Press:
  • Village (1903, Wiebking, Harding & Co.^[25]), cut by Wiebking. Originally designed for Kuppenheimer & Company, who later decided it would be too expensive to cast, it was later bought by Frederick Sherman. The matrices are still extant and cast by Dale Guild Foundry.^[26]
  • Village No. 2 (1932, Continental, later Lanston Monotype), cut by Goudy for an edition of Theodore Low De Vinne's The Old and the New, later marketed by Monotype.^[27]
  • Village Italic (1934, Continental + Lanston Monotype), cut by Goudy. A companion to the No. 2 face.
• Baron's Boston News Letter (1904, ATF), a private face cut for Joseph Baron's financial newsletter, matrices cut by Wiebking. 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), Goudy was uncertain if this type had ever been cast, and there is no mention of it in ATF's records.
• Chushing Italic Goudy claimed that Clarence C. Marder asked him to draw an italic to complement ATF's existing Cushing Roman sometime after 1904, but ATF catalogs show it as existing as early as 1898, thus precluding Goudy from having designed it.

Copperplate Gothic from a 1912 ATF brochure

• Copperplate Gothic Heavy (1905, ATF), originally designed for Marder, Luse, & Co., ATF immediately adopted it and made it the first in a hugely successful series: Clarence C. Marder and Morris Fuller Benton later cut dozens of variations for ATF. 'Gothic' was a contemporary term for sans-serif typefaces; it has nothing to do with 'gothic' or blackletter 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."^{[28][lower-alpha 2]}
• Caslon Revised (1905, nc), Clarence C. Marder of ATF had asked Goudy to draw a more regular version of William Caslon's famous face, but the result was never cast.
• Caxton Initials (1905, ATF), font included twenty-six 'Lombard capitals' and one leaf ornament only.

Globe Gothic Bold

• Globe Gothic Bold (1905, ATF), a companion to Morris Fuller Benton's Globe Gothic. Sans-serif design with variable stroke width.^[29] Utterly unlike Goudy's normal work, and created on commission.

Sample image of Goudy Light

• Monotype 38E Roman + Italic (1908, Lanston Monotype), originally made for use in Life Magazine and later marketed as Goudy Light and Goudy Light Italic. Sometimes known as Gimbel because of its constant use in ads for Gimbel's Department Store.^[30]
• Norman Capitals (1910, privately cast by ATF), cut for Munder-Thompson Company, a Baltimore printing firm, and named for Norman Munder. Matrices engraved by Wiebking.

1911 to 1926: cut by Wiebking

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.^[31]
  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."^[32] 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.^[33] Many revivals and digitisations have been released since.^[34][35]
  • Kennerley Old Style (1911, Village Letter Foundry + 1920, Lanston Monotype + 1927 Continental)
  • Kennerley Italic (1918, Village Letter Foundry + 1920, Lanston Monotype + 1927 Continental)
  • Kennerley Bold + Bold Italic (1924, Lanston Monotype + Continental)
• Forum Title (1911, Lanston Monotype), capitals only, based on the lettering on the Arch of Titus in the Roman Forum.^[36]
• Sherman (1912), privately cast for publisher Frederick Sherman who disliked it and never used it.
• Goudy Old Style (1912, Village Letter Foundry), in 1915, when ATF requested this name for his new face for them, Goudy agreed and renamed this face Goudy Antique. When Lanston Monotype bought and issued the face, it was again renamed, in honor of Tolbert Lanston, under its most common name, Goudy Lanston. Issued in England, with some alterations, by Caslon under the name Ratdolt. Evidently, this altered English version, was issued under the names Foster and Moore by Barnhart Brothers & Spindler along with a "matching" italic (see below).
• Klaxon (1914, cut for Klaxon Auto Warning Signal Company), the matrices, which were cut by Wiebking, were lost in Goudy's 1939 studio fire.
• Goudy Roman (1914), originally designed for Louis Orr of the Bartlett Press who was supposed to have them cast by Caslon 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.
• Goudy Italic, a companion to Goudy Roman which never progressed past initial drawings which were then destroyed in Goudy's 1939 studio fire.

1915 to 1926: Cut by ATF

Goudy Old Style used in an advert for stockings, c. 1920.

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 series (ATF)
  Described as 'an instant best-seller' by Lawson in Anatomy of a Typeface, Goudy Old Style has remained popular since its creation as a boy text and display face.^[37] 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. Many revivals have been released.^[38][39]
  • Goudy Old Style + Italic (1915)
  • See below for many variations cut by others.
• Goudy Cursive (1916, ATF): a set of swash alternates to Goudy Old Style.^[40][6]
• National Old Style (1916, ATF), quite similar to his Nabisco. Often used on inter-title cards for silent movies.
• Booklet Old Style (1916, ATF), apparently never marketed by ATF.
• 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 the Library 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

• Cloister Initials (1918, ATF), a set of floral initials designed to be used with Morris Fuller Benton's Cloister Old Style.^[41][42]
• Hadriano Title (1918, Lanston Monotype + 1927, Continental), matrices cut by Wiebking.
  • Hadriano Lower Case (1930, nc), designed by Goudy for Monotype but never cut. In 1932 Monotype released a full-font that consisted of Hadriano Title matched with Kennerley Bold lower case letters.

Goudy Open

• Goudy Open (1918, Village Letter Foundry + 1924, Monotype Ltd. + 1927, Continental), matrices cut by Wiebking. An open face design (similar to Imprint Shadowed) but influenced by Didone or Modern serif fonts, such as Didot and Bodoni. The influence is visible in exactly horizontal serifs on letters with ascenders, very different to other Goudy 'open face' designs.^[43] 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 Modern in metal type.

• • Goudy Modern (1918, Village Letter Foundry + 1924, Monotype Ltd. + 1927, Continental), basically just a "filled in" version of Goudy Open, matrices cut by Wiebking.^[44][5]
  • Goudy Open Italic + Modern Italic (1919, Village Letter Foundry + 1924, Monotype Ltd.), matrices cut by Wiebking.
• Collier Old Style (1919, ATF), a private type for Proctor & Collier, a Cincinnati advertising agency, matrices cut by Wiebking.

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 when Wiebking 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 and Elements of Lettering books. Writing in 1946, he noted that had he resumed work, he could have anticipated Kabel and Futura with the design. It is also strikingly similar to Albertus of over a decade later.
• Nabisco (1921, privately cast), cut for the National Biscuit Company based on the hand-lettered logotype he had done for them twenty years ago, matrices cut by Wiebking.
• Garamont + Italic (1921, Lanston Monotype + 1927, Continental). Garamont 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 Claure Garamond. 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.^[45][46] An elegant sample created by Bruce Rogers was shown in a spring 1923 issue of Monotype's magazine.^[47] Garamont features a large range of swash characters. Mosley has described it as "a lively type, underappreciated I think."^[48] 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.^[49]
• Goudy Newstyle (1921, Village Letter Foundry + 1927, Continental + 1941 Lanston Monotype), re-cut in 1935 and sold to Monotype who then marketed it as Goudy Bible. It was also used by the Grabhorn Press, who used it in an edition of Leaves of Grass.^[50] This face was then adapted by Bruce Rogers and Sol Hess for the famous Oxford Lectern Bible of 1948.
• Italian Old Style + Italic (1924, Lanston Monotype + 1927, Continental)^[51][52][53] Often confused with other faces of the same name.

Goudy Heavy in metal type

• Goudy Heavy Face + Italic (1925, Lanston Monotype + 1927, Continental), intended to compete with Cooper Black.^[54]
• 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 by Wiebking 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 to Lanston 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 designer George W. Jones to accompany his Venezia Roman.

1926 to 1945: Cut by Goudy

From 1926 until his death, Goudy cut all of his own faces (at least in the pilot sizes).^[55] 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.^[56]

1926 to 1929

• Goudy Antique (1926, privately cast by Village Letter Foundry + 1927, Continental), the first type matrices actually cut by Goudy himself.
• Aries (1926), privately cast for Spencer Kellogg's Aries Press. A medieval-inspired design with upper- and lower-case.^[57]
• 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 the Woman's Home Companion magazine. A set of matrices survives in the collection of the Tampa Book Arts Studio.^[58]
• 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.^[59] One of Goudy's more popular designs, with several revivals.^[60][61]
  • Deepdene (1927, Continental, later Lanston Monotype) Changes were made to fit Monotype's machine composition system.
  • Deepdene Italic (1928, Continental, later Lanston Monotype), matrices cut by Bertha M. Goudy. Notable for a nearly-upright italic.
  • Deepdene Medium (1931, nc), designed for Lanston Monotype but evidently never cast.
  • Deepdene Bold + Bold Italic (1934, Lanston Monotype)
• Remington Typewriter (1927, Lanston Monotype), though intended to be used on Remington 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.^[62]
• Record Title (1927), privately cast for Architectural Record magazine at the commission of Charles DeVinne, grandson of the famous printer and type designer, Theodore Low De Vinne.^[63]
• Goudy Dutch (1927, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire.
• Goudytype (1928, ATF), designed and cut in 1916, not cast and sold until later.

Goudy Text in a modern digitisation

• Goudy Black (1928, Continental), later cast as Goudy Text by Lanston Monotype).^[64][65] A blackletter design, 'text' is short for 'textura', another term used to describe blackletter.
• Inscription Greek (1929, nc), a font of the eleven Greek capitals not found in the Roman alphabet. These were intended to be used with Kennerley Old Style small caps to form a Greek font.
• Lombardic Capitals (1929, Continental + Lanston Monotype), capitals only, intended to serve as alternate, decorative capitals for Goudy Text.^[66][67]
• 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.^{[10][11][12][13]}
  • Goudy Sans Serif Heavy or Sans Serif Bold (1929, Lanston Monotype)
  • Goudy Sans Serif Light (1930, Lanston Monotype)
  • GoudySans Serif Light Italic (1931, Lanston Monotype)
• Kaatskill (1929, Continental), a private face cut for the Limited Editions Club edition of Rip Van Winkle.^[68]
• Strathmore Title (1929), designed as part of a project for Strathmore Paper Company, only fourteen letters were cut before the project was abandoned.
• Goudy Forum (1929, Continental + 1932, Lanston Monotype)

1930 to 1934

Goudy Forum on an advertisement.

• 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, later Monotype Ltd.), a private face in the U.S., it was marketed in England and Europe by British Monotype.^[69]
• Mediaeval (1930, Continental). Inspired by 'a twelfth-century South German manuscript hand'.^[70][71]
• Advertisers Modern (1930, privately cast), cut for the Manuel Rosenberg, publisher of The Advertiser.

Goudy Stout in a modern digitisation

• Goudy Stout, only cut in 24 pt. capitals, few ever cast but often revived since.^[8] Published 1939, Continental.
• Truesdell + Italic (1930, Continental), designed for a preface published in the Colophon No. 5 and named for Goudy's mother.^[72]
  • Truesdell Italic (1931, Continental)
• Goudy Ornate or Ornate Title (1930, Continental), capitals only.^[73]
• Deepdene Open Text (1931, Continental), cut as headings for a book by Edmund G. Greiss. A blackletter font for titles and headings, intended to complement but not match Deepdene.
  • Deepdene Text (1931, Continental), basically just a "filled-in" version of Deepdene Open Text.
• Goethe (1932, Continental), basically a lighter version of Goudy Modern, cut for the Goethe Centenary Exhibition in Leipzig.
  • Goethe Italic (1932, Continental), cut for the Limited Editions Club edition of Frankenstein.
• Quinian Old Style (1932, nc), named for the editor of American 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, a San Francisco printer, who had it cast by Lanston Monotype and renamed it Franciscan. Subsequently cast by McKenzie & Harris.^[57]
• 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.
• Saks Goudy, Italic & Bold Caps (1934), a private type cast for Saks Fifth Avenue department store.^[74][75]
  • Saks Goudy Bold Caps actually consists of the small capitals of larger sizes cast on larger bodies.
• Hasbrouck (1934, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire
• Textbook Old Style (1934, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire..

1935 to 1945

• Tory Text (1935, Continental), blackletter based on the letters of Geoffroy Tory. Used only for one book, though one of Goudy's favorites. Capitals later cannibalized for New 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), Goudy's 100th typeface, done by request for American Printer Magazine. Based on Leonard Holle's 1482 design and named for Goudy's wife, Bertha M. Goudy, who had died the year before.^[76][39]
• Pax (1936, nc), matrices were cut, but Goudy was disappointed with the results and never cast the type.
• Ampersands (1936, nc), a collection of 65 ampersands engraved for the Typophiles club in New York for an article on the topic. A reproduction is in Goudy's 1946 memoirs. Most digitised.^[57]
• Friar (1937, Continental), designed for his own amusement, Goudy only cast a few fonts of this face in 12 point. Inspired by uncial script but with an upper and lower case.^[77]

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

• University of California Old Style + Italic (1938, Continental) cut for the University of California Press and reissued in 1958, by Lanston Monotype as Californian. Later famously released as Berkeley Old Style by ITC; has also been digitised as Californian by LTC and Font Bureau and as University Old Style by Richard Beatty.^{[78][79][80][81]}
• New Village Text (1938, Continental), not a new face but a mongrel cast by Goudy's son consisting of capitals from Tory Text and lower-case letters from Deepdene Text.
• Murchison (1938, Photostat Corporation): an experimental design in the new technology of cold 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 by William Bulmer, never completed.
• Scripps College Old Style (1941), a private face cast for Scripps College. Commissioned by college librarian Dorothy Drake, it was intended for the use of students interested in book making.^[82][83]
  • 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 to Syracuse 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.
• Hebrew University (1945, nc), a font of Hebrew letters commissioned by the American Friends of the Hebrew University in Jerusalem. No casting information available.
• 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.^[84][85] The font is inspired by 'rotunda', a divergent type of blackletter 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 that Bruce Rogers was a great admirer of the design.^[86]

"Goudy" faces designed by others

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.

• Hearst (1902, Inland Type Foundry). Goudy claimed that this had been copied from lettering he had done for a book of verses for children, and it is similar to his Pabst 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.^[24]
• Goudy Bold (1916, ATF) and Goudy Bold Italic (1919, ATF), were designed by Morris Fuller Benton as companions to Goudy Old Style. The Lanston Monotype version of the italic includes cursive capitals by Sol Hess.^[39]
• Goudy Title (1918, ATF) is a full size variation on Goudy's small capitals from his Goudy Old Style and was designed by Morris Fuller Benton.
• Goudy Catalog (1919, ATF) and Goudy Catalog Italic (1921, ATF), were designed by Morris Fuller Benton as medium weight companions to Goudy Old Style.^[87]
• Goudy Handtooled + Italic (1922, ATF), were in-line versions of Goudy Bold + Italic and were probably designed by Charles H. Becker, though other authorities credit either Morris Fuller Benton or Wadsworth A. Parker. Again, the Lanston Monotype version of the italic includes cursive capitals by Sol Hess.^[88][39]
• Italian Old Style Wide (1924, Lanston Monotype), designed by Sol Hess as a companion to Goudy's Italian Old Style.
• Number Eleven series (1924, Ludlow), are out-and-out copies of the Goudy Old Style series.
• Kennerley Open Capitals (1925, Lanston Monotype), were designed by Sol Hess.
• Goudy Heavy Face Open (1926, Lanston Monotype) and Goudy Heavy Face Condensed (1927, Lanston Monotype), were designed by Sol Hess.
• Goudy Extra Bold + Italic (1927, ATF), were a further extension of the Goudy Old Style series by Morris Fuller Benton.
• Foster Italic and Moore Italic (1927, BB&S), were designed by Richard N. McArthur, and based on the English alteration of Goudy Lanston mentioned above.
• Hadriano Stone Cut (1932, Lanston Monotype), was an in-line version of Hadriano Title designed by Sol 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 of Cooper 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'.^[89]
• Berkeley Old Style (1983, ITC), adaptation of Goudy's University of California Old Style (1938). See above.

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.^[90] 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.^[91][57][92]

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.

External links

Writings by Goudy

• "A half-century of type design and typography:" volumes 1 and 2, The Typophiles, New York, 1946. A complete list of Goudy's type designs with commentary.
• "The Alphabet: Fifteen Interpretive Designs" Mitchell Kennerley, N.Y.C, 1918. (alternative digitisation)
• Elements of Lettering (with Bertha Goudy), Mitchell Kennerley, N.Y.C, 1922
• Hello To Those Who Retain Their Sanity, essay, Monotype magazine, 1928
• Ars Typographisch, (Vol. 1, No. 4, 1934): an occasional journal guest-edited by Goudy for one issue in 1934. Contains Goudy's article Type Design: A Homily
• "The Trajan Capitals," Oxford University Press, New York, 1936
• "Typologia" University of California Press, Berkeley, Los Angeles, London, 1940

Additional sources

• Orton, Vrest "Goudy, Master of Letters", Black Cat Press, Chicago, 1939. A festschrift with an introduction by Goudy.
• Lewis, Bernard: Behind the Type: The Life Story of Frederic W. Goudy, Carnegie Institute of Technology, 1941. An extensive survey of Goudy's work. Goudy's 1938 talk on printing, The Ethics and Aesthetics of Type, is printed at the end.
• Rollins, Carl Purlington "American Type Designers and Their Work" in Print, V. 4, #1.
• MacGrew, Mac, "American Metal Typefaces of the Twentieth Century," Oak Knoll Books, New Castle Delaware, 1993, ISBN 0-938768-34-4.
• Bruckner, D.J.R., "Frederic Goudy," Documents of American Design series, Harry N. Abrams, Inc., Publishers, New York City, 1990, ISBN 0-8109-1035-7.
• Type By Goudy (Popular Mechanics article by Andrew R. Boone, April 1942. Many pictures of Goudy at work.)
• Frederic Goudy - Pantagraph (Bloomington, IL newspaper)
• 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.
• Frederick W. Goudy Collection Archives and Special Collections, Ball State University Libraries (PDF)
• The Frederick W. Goudy Collection From the Rare Book and Special Collections Division at the Library of Congress
• Goudy type designs at Lanston Type Co.