List of typefaces designed by Frederic Goudy

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A sample of Goudy Old Style.
A sample of Copperplate Gothic.

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

1896 to 1910[edit]

  • Camelot (1896, Dickinson Type Foundry), Goudy designed only the capitals, lower-case letters were evidently added by Dickinson/ATF designer Joseph W. Phinney.
  • 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), Goudy numbered it among his designs, though even he was unsure of what it was or if it were ever cast.
  • Devinne Roman (1898, Central Type Foundry, ATF), a book face based on Theodore Low DeVinne's display type.
  • 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 Wiebking for Goudy.
    • 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.
  • Village series
  • Baron's Boston News Letter (1904, ATF), a private face cut for Joseph Baron's financial newsletter, matrices cut by Wiebking.
  • 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 Sometime after 1904, Goudy claimed that Clarence C. Marder asked him to draw an italic to complement ATF's existing Cushing Roman, but ATF catalogs show it as existing as early as 1898, thus precluding Goudy from having designed it.
  • 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.
  • 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 capitals and one leaf ornament only.
  • Globe Gothic Bold (1905, ATF), a companion to Morris Fuller Benton's Globe Gothic.
  • 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.
  • Norman Capitals (1910, privately cast by ATF), cut for Munder-Thompson Company, a Baltimore printing firm, and named for Norman Munder. Mats engraved by Wiebking.

1911 to 1926: Cut by Wiebking[edit]

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

1915 to 1926: Cut by ATF[edit]

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

1926 to 1945: Cut by Goudy[edit]

From 1926 until his death, Goudy cut all of his own faces (at least in the pilot sizes).[2] 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.[3]

1926 to 1929[edit]

  • 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.
  • 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.
  • Deepdene series
  • Remington Typewriter (1927, Lanston Monotype), though intended to be used on Remington typewriters, it was eventually picked up by Monotype.
  • 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.
  • 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 Black (1928, Continental), later cast as Goudy Text by Lanston Monotype).
  • Inscription Greek (1929, nc), a font of the eleven Greek capitals that don't exist in the Roman alphabet. These were intended to be used with Kennerley Old Style small caps to form a Greek font. No casting information available.
  • Lombardic Capitals (1929, Continental + Lanston Monotype), capitals only, intended to serve as alternate, decorative capitals for Goudy Text.
  • Goudy Sans Serif series
  • Kaatskill (1929, Continental), a private face cut for the Limited Editions Club edition of Rip Van Winkle.
  • 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[edit]

  • Unnamed (two faces) (1930), two designs with job numbers from 1930 were destroyed in the fire of 1939. Nothing else known.
  • Trajan Title (1930, Continental, later Monotype Ltd.), a private face in the U.S., it was marketed in England and Europe by British Monotype.
  • Mediaeval (1930, Continental)
  • Truesdell + Italic (1930, Continental), designed for a preface published in the Colophon No. 5 and named for Goudy's mother.
  • Goudy Ornate or Ornate Title (1930, Continental), capitals only.
  • Advertisers Modern (1930, privately cast), cut for the Manuel Rosenberg, publisher of The Advertiser.
  • Deepdene Open Text (1931, Continental), cut as headings for a book by Edmund G. Greiss. Capitals only.
    • Deepdene Text (1931, Continental), basically just a "filled-in" version of Deepdene Open Text.
  • Foster Abstract (1931, Continental), designed by Robert Foster[disambiguation needed] with matrices cut by Goudy and cast privately.
  • Goethe (1932, Continental), basically a lighter version of Goudy Modern, cut for the Goethe Centenary Exhibition in Leipzig.
  • 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), project never progressed beyond first round of proofs.
  • 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.
  • 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.
    • 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[edit]

  • Tory Text (1935, Continental), 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.
  • Pax (1936, nc), matrices were cut, but Goudy was disappointed with the results and never cast the type.
  • Friar (1937, Continental), designed for his own amusement, Goudy only cast a few fonts of this face in 12 point.
  • University of California Old Style + Italic (1938, Continental) cut for the University of California Press and reissued in 1958, by Lanston Monotype as Californian and Californian Italic. Later famously digitized as Berkeley Old Style.
  • 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), Goudy's only excursion into cold type. Named for the president of Photostat Corporation.
  • Goudy Stout (1939, Continental), only cut in 24 pt. capitals, few ever cast.
  • 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.
    • 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.

"Goudy" faces designed by others[edit]

References[edit]

  1. ^ Lawson, Alexander, Anatomy of a Typeface. Boston: David R. Godine, Publisher, 1990. ISBN 0-87923-332-X. p. 112.
  2. ^ Rollins, Carl Purlington American Type Designers and Their Work. in Print, V. 4, #1.
  3. ^ Specimen Book of Continental Types, Continental Type Founders Association, N.Y.C., 1929, p. 123.

Additional sources[edit]

  • 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.