The following is a list of designed. Goudy was one of America's most prolific designers of metal type. He worked under the influence of the, and many of his designs are 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., who was his neighbour as a boy, recalled that he also took inspiration from. He also developed a number of typefaces influenced by medieval manuscripts, capitals and carved into stone. This means that several of his most famous designs such as and Goudy Stout are unusual deviations from his normal style. Goudy's taste matched a trend of the period, in which a preference for using mechanical, geometric 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.

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. 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, who particularly collaborated with him on printing projects.

He listed his typefaces with numbers in a similar way to the used by composers. 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 in his font Kennerley Old Style and printed by his friend. 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 designs, though he did create the nearly sans-serif, 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. This led to him producing a large range of designs on commission, and promoting his career through talks and teaching. As a result, many of his designs may look somewhat similar to modern readers.

Goudy Old Style T Regular Download And Upload. Download goudy old style t ot regular italic font with regular italic style. Goudy Old Style T Ot.

Goudy's career took place at a time of progress in printing technology. New engraving technology made it easier to rapidly engrave ), the moulds in which metal type would be cast or the used to stamp them in copper. 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. During the early years of Goudy's career, hand typesetting was being superseded, especially for body text composition, by, and his client was one of the most popular manufacturers of these systems, in competition with that of. Both allowed 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 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 offering a strikingly, Goudy Modern merging traditional old-style letters with the insistent, horizontal serifs of faces of the eighteenth and nineteenth centuries and several such as being sold with a italic for display use.

His sans-serif series, adopts an eccentric style with a calligraphic italic. 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. 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. In his earlier career he had worked first as a bookkeeper, and then as a printer and lettering artist. Critical assessment The printer, while respecting some of his work, echoed Goudy's student ' comment that his work lacked 'a certain snap and acidity'. He also wrote that Goudy had 'never gotten over' a desire to imitate medieval books.

The essay Printing by, reprinted by Goudy's Village Press in 1903. The British printer, also a veteran of fine book printing whose career at 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 did not look 'as if it has been designed by somebody in particular — Mr. Goudy for instance.'

Goudy felt in his later life that his career had been overshadowed by new trends, with modernism and a trend towards and sharp type leaving his work out of favor., a leading historian of type design, devoted a section of his book Letters 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 had prevented him from critically assessing his work.

He noted as an example how his 'Bertham' type, named in memory of his late wife ('Bertha M.' ), 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 his designs the adjective text, short for '. 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, 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. Camelot (1896, ), Goudy designed only the capitals, lower-case letters were later added, presumably by Dickinson's type designer or his team. A delicate Art Nouveau-inspired display face with small wedge serifs. 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 some lettering in an issue of the British magazine. 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.

DeVinne Roman (1898, ), a book face based on a display type that had been earlier commissioned. A sample advertisement set in Pabst Old Style from the American Type Founders specimen book of 1923. Pabst Old Style or Pabst Roman (1902, ), based on hand lettering done by Goudy for advertisements for the, though commissioned by Schlesinger & Mayer, a department store. Cast by 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 low. Pabst Roman Italic (1903, ), a companion to the above. Cut by, who would work extensively with Goudy in the following years. Goudy's hand-lettering for the children's book. 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 commissioned Pabst Old Style for another store), and named after him. Another display type, partially inspired by lettering Goudy had done for the children's book, a design which Goudy felt had been pirated by the as their font 'Hearst'. To give the font a different to Pabst or the 'Hearst' font, Goudy attempted to balance the and height of the and differently. Goudy reported in his autobiography that Keystone later created a matching italic. The Village series was a family named after Goudy's own Village Press, which came to use it.

Village (1903, ), cut. It was originally designed for 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 of 's, itself influenced by the 1470s printing of, as well as other (mostly British) fine printers such as the Doves, Montaigne and Merrymount presses. The matrices are still extant and cast. Village No. 2 (1932, later ), cut by Goudy for an edition of The Old and the New, later marketed by Monotype.

Village Italic (1934, + ), cut by Goudy. A companion to the No. Chushing Italic Goudy thought that Clarence C. Marder asked him to draw an italic to complement existing Cushing 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, ), a private face cut for 's financial newsletter, matrices cut. 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. (1905, ), originally designed for, ATF immediately adopted it and made it the first in a hugely successful series: Clarence C.

Marder and later cut dozens of variations for ATF. 'Gothic' was a contemporary term for typefaces; it has nothing to do with 'gothic' or 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.'

Globe Gothic Bold. Globe Gothic Bold (1905, ), a companion to 'Globe Gothic'. Sans-serif design with variable stroke width.

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 foundryGerry Powell of A.T.F.

Insists that it sold in considerable quantities, but I have never come across many pieces of printing showing it.' . (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, ), originally made for use in magazine (who, Goudy reported, ultimately never used it) and initially called 'Monotype 38E' after its order number.

Sometimes known as Gimbel because of its use in ads for. An elegant design, which Goudy described as better-adapted for advertising and display use than for body text. Norman Capitals (1910, privately cast by ), cut for Munder-Thompson Company, a 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.

1911 to 1926. Main article: The Kennerley Series, named for New York publisher, was Goudy's first major success in his own style. Goudy described the design as extremely loosely suggested by the 'Fell Types', a set of type in the collected by of for the: 'comparison of my type with the Fell letter will disclose little more than an identity of spirit.' 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 printer. Many revivals and digitisations have been released since.

Kennerley Old Style (1911, + 1920, + 1927 ). Goudy Forum on an advertisement. Forum Title (1911, ), capitals only, based on the lettering on the in the. Distinguishable from some of Goudy's other Roman-inspired fonts by the curving capital 'Y' in the tradition of the Greek letter. 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 to for use exclusively by its faculty and students. The Sherman typeface was brought back to life and digitally redrawn by Chester Jenkins in 2016. 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'. When bought and issued the face, it was again renamed, in honour of Tolbert Lanston; it was originally called Goudy Antique. Issued in, with some alterations, by under the name.

Evidently, this altered English version, was issued under the names and Moore by 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 by, but Caslon refused to take on new work due to a 'war scare'. Later, 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. Klaxon (1914, cut for ), the matrices, which were cut by, were lost in Goudy's 1939 studio fire. Goudy Italic, a companion to Goudy Roman which never progressed past initial drawings which were then destroyed in Goudy's 1939 studio fire.

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1915 to 1926: Cut by ATF. Main article: Described as 'an instant best-seller' by Lawson in Anatomy of a Typeface, Goudy Old Style (1915) has remained popular since its creation for as a body text and display face. 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 (Goudy did not say which).

The dots on the 'i' and 'j' are diamond-pattern, and the were kept short at ATF's insistence to allow tight line setting on their system. Many revivals have been released. 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. Goudy Open. Goudy Open (1918, Village Letter Foundry + 1924, + 1927, ), matrices cut.

An open face design (similar to ) but influenced by or Modern serif fonts, such as and. The influence is visible in exactly horizontal serifs on letters with ascenders, very different to other Goudy 'open face' designs. 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, + 1927, ), basically just a 'filled in' version of Goudy Open, matrices cut. Perhaps most famously used in the 's famous 1980 edition of, typeset by, considered one of the most famous books in American fine printing. Goudy Open Italic + Modern Italic (1919, Village Letter Foundry + 1924, ), matrices cut. The normal italic was this time made first, then the open design. Collier Old Style (1919, ), a private type for Proctor & Collier, a advertising agency, matrices cut. 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 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.

Writing in 1946, he noted that had he resumed work, he could have anticipated and with the design. It is also strikingly similar to of over a decade later. Nabisco (1921, privately cast), cut for the based on the hand-lettered logotype he had done for them twenty years ago, matrices cut. Garamont. Monotype's first showing of Garamont One of Goudy's most popular typefaces in his lifetime, Garamont (1921, + 1927, ) was loosely based on metal types in the, the French government printing-office, that were at the time thought to be the work of. Research by, published in 1926, revealed that actually these designs were the work of, working more than fifty years after Garamond's death.

An elegant sample created by was shown in a spring 1923 issue of Monotype's magazine. Garamont features a large range of. Has described it as 'a lively type, underappreciated I think.' Digitisation deliberately maintained its eccentricity and irregularity true to period printing, something Goudy had insisted on in his original design, avoiding perfect verticals. Goudy Newstyle (1921, + 1927, + 1941 ), re-cut in 1935 and sold to Monotype who then marketed it as Goudy Bible.

It was also used by the, who used it in an edition of Leaves of Grass. This face was then adapted by and for the famous of 1948. Italian Old Style + Italic (1924, + 1927, ) Often confused with some other faces of the same name, it is notable for its 'A' with serifs on either side of the top. It was used to set Goudy's autobiography. Goudy Heavy in metal type.

Goudy Heavy Face + Italic (1925, + 1927, ), intended to compete with. An ultra-bold typeface with minimal stress in the old-style pattern;, not always a fan of Goudy's type designs, thought it 'one of Goudy's best' and 'superior' to its competitors.

Marlborough (1925, + 1927, ), a private face designed for a printer who lost interest in the project before completion. The matrices were cut by 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 in 1942, but Monotype apparently did not release it. A picture is shown in Goudy's 1946 memoir. Venezia Italic (1925, ), made at the request of type designer to accompany his Venezia Roman. 1926 to 1929 From 1926 until his death, Goudy cut all of his own faces (at least in the pilot sizes). From 1927-1929, Goudy cast type at his own Village Letter Foundry and marketed them through the.

After 1929 he ceased casting his own fonts and they were cast for by the New England Type Foundry. Goudy Antique (1926, privately cast by + 1927, ), 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. Goudy Uncials (1927, nc), drawings were completed, all traces lost in Goudy's 1939 studio fire. Companion Old Style + Italic (1927, ), a private face cut for the 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. 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), but not digitised.

(The Companion would later become one of the first magazines in the USA to switch to in 1943. Main article: A crisp design inspired by a typeface designed in the Netherlands, which Goudy's Paul Bennett wrote was 's Lutetia. 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.

Named after Goudy's home in Marlborough. Deepdene (1927, later ) Changes were made to fit Monotype's machine composition system. Deepdene Italic (1928, later ), matrices cut. Notable for a italic. Deepdene Medium (1931, nc), designed for but evidently never cast.

Deepdene Bold + Bold Italic (1934, ). Goudy's italic typewriter font, made for Remington. Remington Typewriter (1927, ) Though intended to be used on 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. 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 for magazine at the commission of Charles DeVinne, grandson of the famous printer and type designer,. 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, ), designed and cut in 1916, not cast and sold until later. Lombardic Capitals in metal type. Lombardic Capitals (1929, + ), capitals only, intended to serve as alternate, decorative capitals for Goudy Text.

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. Goudy Sans Serif Heavy or Sans Serif Bold (1929, ).

Goudy Sans Serif Light (1930, ). Goudy Sans Serif Light Italic (1931, ). Kaatskill (1929, ), a private face cut for the Limited Editions Club edition of. Strathmore Title (1929), designed as part of a project for Strathmore Paper Company, only fourteen letters were cut before the project was abandoned. 1930 to 1934.

Unnamed (two faces) (1930), two designs with job numbers from 1930 were destroyed in the fire of 1939. Nothing else known. Goudy Stout in a modern digitisation. Goudy Stout, only cut in 24 pt. Goudy described it as unpopular in his lifetime, but revived several times since.

Published 1939,. Digital revivals by Castle Type, Rimmer and by for.

Truesdell + Italic (1930, ), first used for a preface published in and named for Goudy's mother. Truesdell Italic (1931, ). Goudy Ornate or Ornate Title (1930, ), capitals only. Deepdene Open Text (1931, ), cut as headings for a book by Edmund G. A font for titles and headings, intended to complement but not match Deepdene. Deepdene Text (1931, ), basically just a 'filled-in' version of Deepdene Open Text.

Goethe (1932, ), basically a lighter version of Goudy Modern, cut for the Goethe Centenary Exhibition in. Goethe Italic (1932, ), cut for the Limited Editions Club edition of. Quinian Old Style (1932, nc), named for the editor of 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, ), later sold to Edwin Grabhorn, a printer, who had it cast by and renamed it Franciscan. Subsequently cast by McKenzie & Harris. 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 department store.

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 1938. Tory Text (1935, ), based on the letters of.

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, ), named in memory of Goudy's wife, who had died the year before. 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 65 engraved for the Typophiles club in New York for an article on the topic. A reproduction is in Goudy's 1946 memoirs. Most digitised. Friar (1937, ), designed for his own amusement, Goudy only cast a few fonts of this face in 12 point. Inspired by but with an upper and lower case. University of California Old Style.

Main article: Goudy's 'California' font (1938, ) was cut for the. It is a 'Venetian' typeface, loosely inspired by the work of.

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 as 'Californian' and then famously under the name of 'Berkeley Old Style'.

In digital versions, 'California' was released by ITC under its pre-existing brand, as 'Californian' by LTC and (in different digitisations) and by Richard Beatty under the name of 'University Old Style'. Late designs, 1938 to 1945. New Village Text (1938, ), 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, ): an experimental design in the new technology of 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, never completed. Scripps College Old Style (1941), a private face cast for. Commissioned by college librarian Dorothy Drake, it was intended for the use of students interested in book making.

Later released by Monotype. 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 and named for H. Lyle Spencer, dean of the School of Journalism. Marlborough Text (1944, ), 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. No casting information available. Goudy Thirty (1953, ), 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. The font is inspired by ', a style of 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 that was a great admirer of the design.

'Goudy' faces designed by others. Hearst (1902, ). Goudy claimed that this had been copied from lettering he had done for a book of verses for children. 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. Goudy Bold (1916, ) and Goudy Bold Italic (1919, ), were designed by as companions to. The version of the italic includes cursive capitals. 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 Title (1918, ) is a full size variation on Goudy's small capitals from his and was designed. Goudy Catalog (1919, ) and Goudy Catalog Italic (1921, ), were designed by as medium weight companions to.

Goudy Handtooled + Italic (1922, ), were in-line versions of Goudy Bold + Italic and were probably designed by Charles H. Becker, though other authorities credit either. Again, the version of the italic includes cursive capitals.

The 1937 textbook 26 Lead Soldiers called it 'Goudy Bold in a tuxedo.' Morison was notably unimpressed by it. Italian Old Style Wide (1924, ), designed by as a companion to Goudy's Italian Old Style. Number Eleven series (1924, ), are out-and-out copies of the. Kennerley Open Capitals (1925, ), were designed. Goudy Heavy Face Open (1926, ) and Goudy Heavy Face Condensed (1927, ), were designed. Goudy Extra Bold + Italic (1927, ), were a further extension of the.

Foster Italic and Moore Italic (1927, ), were designed by Richard N. McArthur, and based on the English alteration of Goudy Lanston mentioned above. Hadriano inlined in metal type.

Hadriano Stone Cut (1932, ), was an in-line version of Hadriano Title designed. Goudy Text Shaded , was designed in house by Monotype. Pabst Old Style Condensed , 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. 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'.

Berkeley Old Style (1983, ITC), adaptation of Goudy's University of California Old Style (1938). Daylilies, floral capitals based on Goudy Old Style by Judith Sutcliff. Goudy Swash, a release of Goudy Old Style Italic (only) with swash caps.

Goudy also cut the matrices for Foster Abstract, an ultra-bold Art Deco block letter designed by his friend Robert Foster. 1931, with matrices cut by Goudy and cast privately. 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. 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. ^ Shaw, Paul. Retrieved 12 July 2015. Sloane, Eric (2006).

Return to Taos: Eric Sloane's sketchbook of roadside Americana. Mineola, NY: Dover Publications. Cameron, Alex. Eye Magazine.

Retrieved 5 February 2016. ^ Rimmer, Jim. Anatomy of a typeface. Boston: Godine, p.200. Ovink, G.W. 1 (2): 18–31. Retrieved 20 February 2016.

Ovink, G.W. 1 (4): 282–301. Retrieved 20 February 2016.

'Reviving the Classics: Matthew Carter and the Interpretation of Historical Models'. In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew.

Princeton Architectural Press. Retrieved 30 January 2016. Goudy, Frederic (1946). New York: The Typophiles.

Retrieved 26 February 2016. Goudy, Frederic (1946). New York: The Typophiles. Retrieved 26 February 2016. Goudy, Frederic (1922). New York: Mitchell Kennerley.

Retrieved 26 February 2016. Carter, Matthew.

Eye Magazine. Retrieved 5 February 2016. Retrieved 5 February 2016. Monotype Recorder.

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Retrieved 28 July 2015. Retrieved 27 August 2015. Retrieved 27 August 2015. Majoor, Martin. Retrieved 27 August 2015. Retrieved 27 August 2015. Retrieved 27 August 2015.

Retrieved 27 August 2015. Modern Mechanix. Carter, Sebastian (2002). Twentieth century type designers (New ed.).

Aldershot: Lund Humphries. Updike, Daniel Berkeley (1922). Cambridge, MA: Harvard University Press.

Retrieved 17 August 2015. Frazier, J.L. Retrieved 24 August 2015. Leslie Cabarga (15 February 2004). Megan Benton (January 2000). Yale University Press.

Simon Loxley (12 June 2006). Loxley, Simon (31 March 2006). Goudy, Frederic W (1939-01-01). Marlboro, N.Y.: Village Press. Retrieved 26 August 2015.

Retrieved 26 August 2015. Retrieved 27 August 2015., Anatomy of a Typeface. Boston: David R. Godine, Publisher, 1990.

Retrieved 26 August 2015. Retrieved 26 August 2015. Frazier, J.L. Retrieved 24 August 2015. Retrieved 27 August 2015. Usherwood & Jackaman. Red Rooster Fonts.

Retrieved 27 August 2015. Gross, John. Retrieved 5 February 2016. Frederic William Goudy (1940). University of California Press. Lewis Blackwell (2004). Laurence King Publishing.

Retrieved 27 August 2015. Schwartz, Barry. League of Movable Type. Retrieved 27 August 2015.

Nolan, John; Steffmann, Dieter. Typographer Mediengestaltung. Retrieved 27 August 2015. Retrieved 25 February 2016. Rickner, Tom. Retrieved 25 February 2016.

Bixler, M&W. Michael & Winifred Bixler. Retrieved 9 December 2015. Monotype Recorder. 28 (232): 4, 25. Retrieved 11 January 2016.

^ Shaw, Paul. Print magazine. Retrieved 30 June 2015. Retrieved 2017-02-10. Retrieved 2017-01-31.

Alexander S. Lawson (January 1990). Godine Publisher. Schwartz, Barry. League of Movable Type. Retrieved 2 July 2015. ^ Pesala, Bhikku.

Softer Views. Retrieved 4 September 2015. Retrieved 2 July 2015. Curtis, Nick. Nick's Fonts.

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Typographer Mediengestaltung. Retrieved 27 August 2015. Retrieved 27 August 2015.

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Retrieved 27 August 2015. Retrieved 25 February 2016. Sherman, Nick. Fonts In Use. Retrieved 28 February 2016. Grossman, C: 'Andrew Hoyem of Arion Press: Champion of Literary Artistry', Biblio, September 1997.

The Fleuron: 131–179. Allen Kent; Harold Lancour; Jay E. Daily (1 July 1973). (January 1923). 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. Archived from the original on February 2, 2015.

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Retrieved 3 December 2015. Megan Benton (January 2000). Yale University Press. Hunt & Grieshaber.

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Retrieved 27 August 2015. Saxena, Pooja. It's a nerd's life.

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Rollins, Carl Purlington American Type Designers and Their Work. Specimen Book of Continental Types, N.Y.C., 1929, p.

^ Kegler & Kahn. Retrieved 27 August 2015. Tampa Book Arts Studio.

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Retrieved 27 August 2015. Heller, Steven. Print magazine. Retrieved 15 December 2016. Walter Tracy (January 2003).

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Steffmann, Dieter. Typographer Mediengestaltung.

Retrieved 27 August 2015. Hardwig, Florian. Fonts in Use. Retrieved 11 February 2017. Retrieved 11 February 2017. Matteson, Steve. Retrieved 27 August 2015.

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Beatty, Richard. Retrieved 27 August 2015. Beatty, Richard. Retrieved 27 August 2015. Matteson, Steve.

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Lawson (January 1990). Godine Publisher. Retrieved 31 August 2015. Retrieved 27 August 2015. Retrieved 27 August 2015. Judith Sutcliff. Retrieved 25 February 2016.

Retrieved 25 February 2016. Bomparte, John. Bomparte Fonts. Retrieved 17 September 2015.

Parachute Fonts. Retrieved 17 September 2015. 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.' . This style of 'Y', sometimes called a 'palm Y', is rare in Roman-alphabet fonts, but it was used by early printer, for example in his famous illustrated volume, and in the Monotype font based on it. A more muted form of it is used in 's.

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 preceding face (1905) later owned by Stephenson Blake. External links Writings by Goudy. 'A half-century of type design and typography:' volumes and, The Typophiles, New York, 1946. A complete list of Goudy's type designs with commentary. ' Mitchell Kennerley, N.Y.C, 1918. (with ), N.Y.C, 1922., essay, Monotype magazine, 1928., (Vol. 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,', New York, 1936., Berkeley, Los Angeles, London, 1940 Additional sources. Orton, Vrest ', Black Cat Press, Chicago, 1939. A with an introduction by Goudy. Lewis, Bernard:, 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, V. MacGrew, Mac, 'American Metal Typefaces of the Twentieth Century,' Oak Knoll Books, New Castle Delaware, 1993,. Bruckner, D.J.R., 'Frederic Goudy,' Documents of American Design series, Harry N. Abrams, Inc., Publishers, New York City, 1990,.

( article by Andrew R. Boone, April 1942. Many pictures of Goudy at work.). (Bloomington, IL newspaper). (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. Archives and Special Collections, Ball State University Libraries (PDF).

From the at the. (Circuitous Root). (Circuitous Root).