List of typefaces designed by Frederic Goudy

630: 780: 457: 2382: 125: 859: 714:'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 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." 401: 153:, 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. 1457: 230: 1051: 727: 258: 1910: 1257: 1722: 1156: 1122: 908: 1396: 1314: 2553: 1566: 916: 1196: 1059: 695: 30: 671: 2808: 2019: 108:, 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 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 wife 2063: 1862: 1270: 2577:(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. 97: 306:

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."), 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."

722:(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. 1309:. 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. 1805: 1824:

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

2988:

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

1699:

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

305:

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

2920:

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

330:

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

2904:

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.

335:, 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. 665:

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

2531:), 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 ' 827:: "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 168:

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.

1062:

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

92:

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.

4822:

Encyclopedia of Library and Information Science: Volume 9 - Fore-Edge Painting to Germany: Libraries and Information Centers in: Training of Documentalists and Information Officers at the Nonuniversity Level in the Federal Republic of

1739:'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. 281:

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

2971:

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

953:(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 237:

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.

2867:(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'. 286:

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

144:

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

6454: 1847:(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. 2930:

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

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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."

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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

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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.

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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

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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

1941:

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.

378:. 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. 1504:

digitisation deliberately maintained its eccentricity and irregularity true to period printing, something Goudy had insisted on in his original design, avoiding perfect verticals.

629: 57:

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

2214:(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. 226:

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.

104:

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

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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.

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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

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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

1889:, 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." 4860:

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.

963:(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. 1561:) 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. 534:

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

2613:. 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'. 770:

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.

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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

474:(1903, Keystone Foundry), commissioned by one Mr. Powell, then advertising manager for Mandel Brothers department store (earlier he had commissioned 6318: 2483:. Commissioned by college librarian Dorothy Drake, it was intended for the use of students interested in book making. Later released by Monotype. 1181:(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 254:' 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. 4116:

Typologia: Studies in Type Design & Type Making, with Comments on the Invention of Typography, the First Types, Legibility, and Fine Printing

546:, as well as other (mostly British) fine printers such as the Doves, Montaigne and Merrymount presses. The matrices are still extant and cast by 2511:), a private face for International Printing Company. Though a complete design, only the letters to print "Certificate of Honor" were ever cut. 2385:

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

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for use exclusively by its faculty and students. The Sherman typeface was brought back to life and digitally redrawn by Chester Jenkins in 2016.

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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'.

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sometime after 1904. However, Goudy was unsure whether they ultimately used his design, and ATF catalogs show it as existing as early as 1898.

6528: 6490: 2342:, who had died the year before. Goudy's 100th typeface, done by request for American Printer Magazine. Based on Leonard Holle's 1482 design. 2101: 1407:(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 6463:(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. 4428: 1611:

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

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or phototypesetting, which did not become popular until after the end of Goudy's life. Named for the president of Photostat Corporation.

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magazine (who, Goudy reported, ultimately never used it) and initially called "Monotype 38E" after its order number. Sometimes known as

2497:(1943, nc), commissioned for a large book printing firm but never accepted due to wartime restrictions. Later the design was given to 2410:

After the original type was commissioned for private use, 'California' was released publicly by different companies, first in 1958, by

3580: 3009: 478:

for another store), and named after him. Another display type, partially inspired by lettering Goudy had done for the children's book

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engraved for the Typophiles club in New York for an article on the topic. A reproduction is in Goudy's 1946 memoirs. Most digitised.

2001:(1929), designed as part of a project for Strathmore Paper Company, only fourteen letters were cut before the project was abandoned. 6433:

Bruckner, D.J.R., "Frederic Goudy," Documents of American Design series, Harry N. Abrams, Inc., Publishers, New York City, 1990,

2048:). A free, romanised blackletter, inspired by 'a twelfth-century South German manuscript hand', and popular in Goudy's lifetime. 2567:). Goudy claimed that this had been copied from lettering he had done for a book of verses for children. It is similar to his 5250: 6485: 6080: 5287: 5129: 4949: 4831: 4485: 4151: 4124: 3796: 3769: 3742: 2898: 2508: 2438: 2396: 2365: 2332: 2298: 2221: 2185: 2167: 2151: 2137: 2127: 2111: 2097: 2079: 2045: 2031: 1984: 1922: 1874: 1763: 1749: 1664: 1648: 1644: 1604: 1582: 1558: 1516: 1469: 1332: 1286: 1229: 895: 881: 849: 578: 557: 2901:

with matrices cut by Goudy and cast privately. Goudy personally felt that the design 'violated every canon of type design'.

195:

While most of Goudy's designs are 'old-style' serif faces, they do still explore a wide range of aspects of the genre, with

112:, who particularly collaborated with him on printing projects. He listed his typefaces with numbers in a similar way to the 5175: 3638: 1114:

Goudy Old Style became particularly commonly used for display and advertising use. Indeed, in 1937, the printing textbook

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During the early years of Goudy's career, hand typesetting was being superseded, especially for body text composition, by

2415: 2390: 2208:

who commissioned the type, however the drawings were rejected and subsequently perished in Goudy's studio fire of 1939.

1607:), a private face designed for a printer who lost interest in the project before completion. The matrices were cut by 6502: 321:'. This designation was common in Goudy's time; it is now avoided due to confusion with fonts intended for body text. 6523: 6438: 6427: 6358:, (Vol. 1, No. 4, 1934): an occasional journal guest-edited by Goudy for one issue in 1934. Contains Goudy's article 3927: 3715: 3621: 3182: 3039: 17: 456: 6405: 1242:(1930, nc), designed by Goudy for Monotype but never cut. In 1932 Monotype released a full-font that consisted of 466:. Several of his early typefaces were inspired by or similar to his work in this volume. Image is Goudy's own copy. 5614: 2940:

This style of 'Y', sometimes called a 'palm Y', is rare in Roman-alphabet fonts, but it was used by early printer

362:(1896) this was a second set of drawings sent to Dickinson Type Foundry that he sent them after they had accepted 352:), Goudy designed only the capitals, lower-case letters were later added, presumably by Dickinson's type designer 2796: 1014: 1000: 3370: 2421:

In digital versions, 'California' was released by ITC under its pre-existing brand, as 'Californian' by LTC and

756:. An elegant design, which Goudy described as better-adapted for advertising and display use than for body text. 6422:

MacGrew, Mac, "American Metal Typefaces of the Twentieth Century," Oak Knoll Books, New Castle Delaware, 1993,

6374: 2400: 1593:, not always a fan of Goudy's type designs, thought it "one of Goudy's best" and "superior" to its competitors. 3427: 3310: 4898: 4876: 2848: 619:. Goudy wrote in 1946 that he had no knowledge of what became of the design and little memory of what it was. 181: 4086: 3630: 967:

noted that "Goudy's own Village Foundry was long the sole source of this face, 14-point roman only". When

6518: 4784:"Presidio's future -- less cash, more culture / Market-driven development needs a dose of soul-searching" 4453: 2078:

genre. Goudy described it as unpopular in his lifetime, but revived several times since. Published 1939,

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bought and issued the face, it was again renamed, in honour of Tolbert Lanston; it was originally called

651:, ATF immediately adopted it and made it the first in a hugely successful series: Clarence C. Marder and 4993: 1735:

A crisp design inspired by a typeface designed in the Netherlands, which Goudy's Paul Bennett wrote was

4847: 4801: 2540: 2014:(1930), two designs with job numbers from 1930 were destroyed in the fire of 1939. Nothing else known. 1536: 1489: 1054:

A sample of Goudy Old Style in metal type. Note the very tight descenders, clearest on the 'p' and 'q'.

49:

Goudy was one of America's most prolific designers of metal type. He worked under the influence of the

1009:(1914), originally designed for Louis Orr of the Bartlett Press who was supposed to have them cast by 5943: 5198: 5060: 2946: 2368:), designed for his own amusement, Goudy only cast a few fonts of this face in 12 point. Inspired by 1695: 1626: 6341: 811:

Goudy described the design as extremely loosely suggested by the 'Fell Types', a set of type in the

779: 4745: 4692: 2348:(1936, nc), matrices were cut, but Goudy was disappointed with the results and never cast the type. 1434: 1041:

which never progressed past initial drawings which were then destroyed in Goudy's 1939 studio fire.

625:(1904, nc), inspired by copperplate engraving. Goudy was uncertain if this type had ever been cast. 404:

A sample advertisement set in Pabst Old Style from the American Type Founders specimen book of 1923

251: 88:

Goudy's taste matched a trend of the period, in which a preference for using mechanical, geometric

50: 6460: 5355: 4641:"LTC Goudy Initials (more complex Cloister Initials digitisation with negative/positive elements)" 3281: 6365: 4851: 3223: 1837:

magazine at the commission of Charles DeVinne, grandson of the famous printer and type designer,

824: 6466: 5639: 5485: 4587: 4194: 3198: 2381: 6270: 5991: 5920: 4966: 3669: 2855:, though also cast by Linotype, has no relation to Goudy's face and is actually a knock-off of 2772: 2668: 2648: 2640: 2620: 2592: 2584: 1854: 1660: 1615:

in 1942, but Monotype apparently did not release it. A picture is shown in Goudy's 1946 memoir.

1600: 1512: 1380: 1208: 1168: 1148: 1134: 1104: 1096: 1092: 1069: 873: 841: 763: 707: 683: 648: 644: 608: 594: 501: 443: 429: 417: 389: 349: 247: 132:(1922), exemplifying his interest in the history of printing. The book was typeset by his wife 74: 6444: 6174: 6122: 5741: 5537: 5277: 4939: 4820: 4475: 4141: 3759: 3705: 206:, Goudy Modern merging traditional old-style letters with the insistent, horizontal serifs of 6070: 4114: 3997: 3786: 3732: 3170: 2425:(in different digitisations) and by Richard Beatty under the name of 'University Old Style'. 2309:. Used only for one book, though one of Goudy's favorites. Capitals later cannibalized for 1838: 1821: 565: 497: 421: 393: 373: 173: 78: 6148: 5459: 4718: 4560: 3861: 1492:

was shown in a spring 1923 issue of Monotype's magazine. Garamont features a large range of

5433: 4640: 4502: 3588: 3085: 2782: 2676: 2652: 2630: 2596: 2035: 1833: 1622: 1544: 1473: 1437:

based on the hand-lettered logotype he had done for them twenty years ago, matrices cut by

1364: 1328: 1282: 1212: 1138: 711: 652: 523: 385: 96: 6353: 6314:, The Typophiles, New York, 1946. A complete list of Goudy's type designs with commentary. 6245: 5966: 5688: 5381: 4032: 3940: 3398: 1191:(1917, nc), patterns were cut but never cast, all traces lost in Goudy's 1939 studio fire. 8: 6480: 4273: 3500: 2973: 2680: 2564: 2498: 2284:(1934, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire.. 2038:), a private face in the U.S., it was marketed in England and Europe by British Monotype. 1901: 1775: 1730: 1476:, the French government printing-office, that were at the time thought to be the work of 1424: 1298: 1182: 954: 800: 485: 207: 196: 89: 6096: 5894: 5407: 5085: 4666: 4340: 4246: 3471: 2873:(1983, ITC), adaptation of Goudy's University of California Old Style (1938). See above. 2675:

and were probably designed by Charles H. Becker, though other authorities credit either

2325:(1935, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire. 2319:(1935, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire. 2254:(1933, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire. 2248:(1933, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire. 180:

was one of the most popular manufacturers of these systems, in competition with that of

6335: 5511: 5033: 4167: 4059: 4012: 3684: 3139:

Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - II".

2278:(1934, nc), designs complete but never cut, all traces lost in Goudy's 1939 studio fire 1528: 1493: 1294: 1215: 816: 806: 687: 639: 612: 215: 150: 137: 82: 5820: 5330: 4614: 3554: 3341: 3112:

Ovink, G.W. (1971). "Nineteenth-century reactions against the didone type model - I".

3056: 858: 124: 6448: 6434: 6423: 6400: 6388: 6311: 6307: 6076: 5794: 5303: 5283: 4945: 4912: 4892: 4827: 4481: 4379: 4147: 4120: 3991: 3923: 3835: 3817: 3792: 3765: 3738: 3711: 3663: 3617: 3231: 3206: 3178: 3057:"Type Tuesday: Scholarly and beautiful, a 1918 book by typographer Frederic W. Goudy" 3035: 2470: 2456: 2261: 1488:, working more than fifty years after Garamond's death. An elegant sample created by 1420: 991: 353: 189: 161: 5846: 5714: 5560: 4300: 3965: 2242:(1932, nc), level of completion uncertain, records lost in Goudy's 1939 studio fire. 783:

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

400: 6416: 6043: 5921:"University Old Style (an alternative Berkeley Old Style digitisation by Fontsite)" 5114: 4314: 3890: 3609: 3454: 3171:"Reviving the Classics: Matthew Carter and the Interpretation of Historical Models" 3148: 3121: 2838: 2820: 2758: 2750: 2736: 2720: 2702: 2684: 2606: 2532: 2528: 2411: 2229: 2205: 1972: 1962: 1952: 1926: 1878: 1817: 1795: 1785: 1767: 1753: 1690: 1612: 1578: 1554: 1520: 1501: 1465: 1416: 1302: 1225: 1108: 968: 928: 891: 877: 845: 812: 791:. Some were private commissions, others were cut first and then offered for sale. 739: 582: 561: 278: 6371: 6227: 4404: 4220: 3159: 2897:, an ultra-bold Art Deco block letter designed by his friend Robert Foster. 1931, 1456: 507:

Goudy reported in his autobiography that Keystone later created a matching italic.

356:

or his team. A delicate Art Nouveau-inspired display face with small wedge serifs.

229: 6331: 5872: 3366: 2777: 2725: 2657: 2625: 2601: 2480: 2336: 2083: 1771: 1736: 1705: 1683:(1927, nc), drawings were completed, all traces lost in Goudy's 1939 studio fire. 1608: 1477: 1438: 1408: 1388: 1368: 1340: 1290: 1233: 1082: 1028: 788: 616: 527: 447: 292: 283: 274: 211: 177: 133: 109: 6472: 5606: 3525: 2799:), were designed by Richard N. McArthur, and based on the English alteration of 2441:), not a new face but a mongrel cast by Goudy's son consisting of capitals from 1415:. Writing in 1946, he noted that had he resumed work, he could have anticipated 593:

Goudy thought that Clarence C. Marder asked him to draw an italic to complement

223: 6327: 6322: 5768: 4797: 4091: 3640:

Printing types : their history, forms, and use; a study in survivals vol 2

3319: 3256: 2941: 2404: 2058:

Apparently little-used, but Goudy retained a proof, shown in his autobiography.

1992: 1896: 1709: 1481: 1050: 1010: 980: 940: 828: 726: 543: 535: 266: 200: 58: 42: 6200: 5662: 2270:

actually consists of the small capitals of larger sizes cast on larger bodies.

81:

carved into stone. This means that several of his most famous designs such as

65:, who was his neighbour as a boy, recalled that he also took inspiration from 6512: 3821: 2414:

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

2369: 2306: 2225: 2144:

font for titles and headings, intended to complement but not match Deepdene.

1159:

A specimen of National Oldstyle in American Type Founders' 1923 specimen book

932: 744: 655:

later cut dozens of variations for ATF. 'Gothic' was a contemporary term for

392:), a book face based on a display type that had been earlier commissioned by 257: 66: 6408:, 1941. An extensive survey of Goudy's work. Goudy's 1938 talk on printing, 5587: 4429:"Hidden Treasure in Special Collections Embodies Syracuse University Spirit" 3173:. In Mosley, James; Re, Margaret; Drucker, Johanna; Carter, Matthew (eds.). 3152: 3125: 1909: 156:

Goudy's career took place at a time of progress in printing technology. New

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Grossman, C: "Andrew Hoyem of Arion Press: Champion of Literary Artistry",

3814:

Bertha M. Goudy. Recollections by one who knew her best (Frederic W. Goudy)

3166: 2955: 2857: 2695:

called it "Goudy Bold in a tuxedo." Morison was notably unimpressed by it.

2193: 1590: 1586: 1497: 1484:, published in 1926, revealed that actually these designs were the work of 1354: 531: 480: 462: 366:. It was neither accepted nor cast, but Goudy numbered it among his faces. 298: 165: 6017: 1929:), capitals only, intended to serve as alternate, decorative capitals for 1804: 1256: 516:

was a family named after Goudy's own Village Press, which came to use it.

6392: 5150: 3306: 2536: 2422: 2302: 2141: 1882: 1485: 1344: 1107:

were kept short at ATF's insistence to allow tight line setting on their

947:. Quite soft in appearance, which Tracy found "too much of a good thing". 939:. Distinguishable from some of Goudy's other Roman-inspired fonts by the 936: 660: 539: 310: 203: 113: 70: 62: 6451:

article by Andrew R. Boone, April 1942. Many pictures of Goudy at work.)

5552: 4535: 1721: 1155: 1121: 372:(1897, nc), based on some lettering in an issue of the British magazine 6469:

Archives and Special Collections, Ball State University Libraries (PDF)

5228: 5223: 1936: 1589:. An ultra-bold typeface with minimal stress in the old-style pattern; 1464:

One of Goudy's most popular typefaces in his lifetime, Garamont (1921,

1384: 1013:, but Caslon refused to take on new work due to a "war scare". Later, 989:. Evidently, this altered English version, was issued under the names 907: 656: 547: 489: 288: 219: 185: 157: 146: 54: 4941:

Beauty and the Book: Fine Editions and Cultural Distinction in America

3734:

Beauty and the Book: Fine Editions and Cultural Distinction in America

1899:

not found in the Roman alphabet. These were intended to be used with

1704:

would later become one of the first magazines in the USA to switch to

1395: 1313: 787:

From 1911 to 1926 (with a few exceptions) Goudy's designs were cut by

6415:

Rollins, Carl Purlington "American Type Designers and Their Work" in

5538:"Goudy Trajan Pro (medium weight free, otherwise commercial release)" 2552: 2460: 2355: 2087: 1565: 1349: 1195: 1091:, Goudy Old Style (1915) has remained popular since its creation for 915: 767: 210:

faces of the eighteenth and nineteenth centuries and several such as

4818: 3643:(1st ed.). Cambridge, MA: Harvard University Press. p. 243 3032:

Return to Taos : Eric Sloane's sketchbook of roadside Americana

2989:

Fonts, a company who at time of writing sell it through the website

1647:. After 1929 he ceased casting his own fonts and they were cast for 1058: 694: 420:), based on hand lettering done by Goudy for advertisements for the 301:, a leading historian of type design, devoted a section of his book 6476: 5011: 2959: 2828: 2762: 2740: 2706: 2688: 2610: 2469:(1939, nc), an attempt to design a lower-case for fine capitals by 2075: 2054:(1930, privately cast), cut for the Manuel Rosenberg, publisher of 1540: 1451: 1371:. The normal italic was this time made first, then the open design. 493: 433: 332: 37: 4737: 4212: 1125:

A sample of Goudy Cursive, showing alternate capitals, 'g' and 'x'

670: 29: 5958: 3233:

A Half-Century of Type Design and Typography: 1895-1945, Volume 1

3208:

A Half-Century of Type Design and Typography: 1895-1945, Volume 1

2990: 2886: 2807: 2175: 1756:) Changes were made to fit Monotype's machine composition system. 985: 976: 944: 753: 425: 318: 5168: 3102:

Lawson, A. (1990). Anatomy of a typeface. Boston: Godine, p.200.

2501:

and named for H. Lyle Spencer, dean of the School of Journalism.

2407:. One of Goudy's most popular designs, several releases exist. 2403:. It is a 'Venetian' typeface, loosely inspired by the work of 2018: 1523:), re-cut in 1935 and sold to Monotype who then marketed it as 1500:

has described it as "a lively type, underappreciated I think."

1306: 1260:

Goudy Open in metal type at 60pt, showing a variant swashed 'Q'

1100: 1024: 820: 718: 450:, who would work extensively with Goudy in the following years. 5913: 5478: 3422: 3420: 2879:, floral capitals based on Goudy Old Style by Judith Sutcliff. 2623:) is a full size variation on Goudy's small capitals from his 2062: 1199:

LTC Goudy Initials, a modern digitisation of Cloister Initials

492:

to Pabst or the 'Hearst' font, Goudy attempted to balance the

85:

and Goudy Stout are unusual deviations from his normal style.

5078: 3299: 2951: 2547: 1861: 1269: 5760: 5530: 5190: 1151:), apparently never marketed. Proof shown in Goudy's memoir. 831:. Many revivals and digitisations have been released since. 250:, while respecting some of his work, echoed Goudy's student 6219: 4879:. Typophile. Archived from the original on February 2, 2015 4087:"The Fortunes of Mitchell Kennerley, Bookman (book review)" 4051: 3417: 1857:), designed and cut in 1916, not cast and sold until later. 5984: 4985: 3334: 3079: 3077: 233:

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

136:

in his font Kennerley Old Style and printed by his friend

4685: 3751: 3010:"An appreciation of Frederic W. Goudy as a type designer" 2889:

release of Goudy Old Style Italic (only) with swash caps.

2517:(1945, nc), a font of Hebrew letters commissioned by the 1667:), the first type matrices actually cut by Goudy himself. 943:

curving capital 'Y' in the tradition of the Greek letter

6167: 4819:

Allen Kent; Harold Lancour; Jay E. Daily (1 July 1973).

4195:"Goudy Bookletter 1911 (open-source revival, no italic)" 3778: 1677:. A medieval-inspired design with upper- and lower-case. 69:. He also developed a number of typefaces influenced by 6062: 5786: 4711: 3616:(New ed.). Aldershot: Lund Humphries. p. 45. 3549: 3547: 3074: 1831:(1927), inspired by Roman capitals, privately cast for 1118:

described the bold as 'better known' than the regular.

277:, also a veteran of fine book printing whose career at 164:), the moulds in which metal type would be cast or the 160:

engraving technology made it easier to rapidly engrave

6238: 4112: 2140:), cut as headings for a book by Edmund G. Greiss. A 2074:, only cut in 24 pt. capitals. Quirky typeface in the 6115: 5935: 4958: 4579: 4186: 3958: 3282:"Goudy, the good ol' boy (Bruckner biography review)" 3248: 2376: 1211:), a set of floral initials designed to be used with 674:

Caxton initials in an American Type Founders specimen

488:

as their font 'Hearst'. To give the font a different

6401:

Behind the Type: The Life Story of Frederic W. Goudy

5026: 4057: 3544: 484:, a design which Goudy felt had been pirated by the 424:, though commissioned by Schlesinger & Mayer, a 149:

designs, though he did create the nearly sans-serif

6068: 5733: 5654: 5579: 5052: 5018:Slinn, Judy; Carter, Sebastian; Southall, Richard. 4865: 4473: 4373: 4371: 4369: 4307: 4106: 3393: 3391: 3175:

Typographically Speaking: The Art of Matthew Carter

2687:version of the italic includes cursive capitals by 2609:version of the italic includes cursive capitals by 2459:): an experimental design in the new technology of 1087:Described as 'an instant best-seller' by Lawson in 809:, was Goudy's first major success in his own style. 805:The Kennerley Series, named for New York publisher 6263: 4633: 4078: 3854: 3359: 2521:in Jerusalem]]. No casting information available. 1808:Goudy's italic typewriter font, made for Remington 1423:with the design. It is also strikingly similar to 1236:. Based on the appearance of worn stone capitals. 1103:) on the 'i' and 'j' are diamond-pattern, and the 6089: 6010: 5681: 5615:"Django's Spirit – A Tribute To Django Reinhardt" 5452: 5269: 4964: 4119:. University of California Press. pp. 48–9. 3520: 3518: 3466: 3464: 3177:. Princeton Architectural Press. pp. 31–34. 2082:. Digital revivals by Castle Type, Rimmer and by 1072:and all of his matrices were cut in house by ATF. 659:typefaces; it has nothing to do with 'gothic' or 6510: 6141: 6036: 5887: 5707: 5374: 4856:Monotype: A Journal of Composing Room Efficiency 4366: 3933: 3495: 3493: 3388: 2954:based on it. A more muted form of it is used in 931:), capitals only, based on the lettering on the 585:), cut by Goudy. A companion to the No. 2 face. 6304:"A half-century of type design and typography:" 5839: 5460:"Goudy Lombardy (digitisation with alternates)" 5176:"A "Lost" Goudy Type Becomes Our New Companion" 5017: 4812: 4606: 4529: 4527: 4525: 4523: 4480:. David R. Godine Publisher. pp. 110–119. 4265: 4239: 4139: 3003: 3001: 2944:, for example in his famous illustrated volume 1383:), a private type for Proctor & Collier, a 460:Goudy's hand-lettering for the children's book 218:italic for display use. His sans-serif series, 5504: 5400: 5144: 5142: 5140: 5138: 4659: 3703: 3515: 3461: 3034:. Mineola, NY: Dover Publications. p. 8. 2236:. Subsequently cast by McKenzie & Harris. 1264: 324: 6075:. David R. Godine Publisher. pp. 13–34. 5426: 5348: 5148: 4693:"Goudy Modern (with review of digitisations)" 4160: 4133: 3885: 3883: 3724: 3490: 2428: 2174:, cut for the Goethe Centenary Exhibition in 1673:(1926), privately cast for Spencer Kellogg's 542:, itself influenced by the 1470s printing of 6193: 5632: 5296: 5275: 4937: 4905: 4520: 4025: 3816:. Marlboro, N.Y.: Village Press. p. 6. 3757: 3730: 3342:"Monotype matrices and moulds in the making" 3311:"A Bull in the Typography Shop: a review of 2998: 2976:face (1905) later owned by Stephenson Blake. 1068:In 1915 and 1916, Goudy was on retainer for 269:, reprinted by Goudy's Village Press in 1903 106:A Half-Century of Type Design and Typography 5322: 5135: 4944:. Yale University Press. pp. 131–133. 3828: 3697: 2154:), basically just a "filled-in" version of 1825:know if it had ever been used by Remington. 1045: 1003:along with a "matching" italic (see below). 862:Kennerley Old Style's italic swash capitals 633:Copperplate Gothic from a 1912 ATF brochure 6477:Rare Book and Special Collections Division 6319:The Alphabet: Fifteen Interpretive Designs 5178:. Tampa Book Arts Studio. 14 December 2014 4931: 4467: 4218: 4017:: CS1 maint: location missing publisher ( 3922:Boston: David R. Godine, Publisher, 1990. 3880: 3689:: CS1 maint: location missing publisher ( 1472:) was loosely based on metal types in the 911:Goudy Forum on a metal type specimen sheet 4146:. Laurence King Publishing. p. 191. 2519:American Friends of the Hebrew University 2100:), first used for a preface published in 615:'s financial newsletter, matrices cut by 5812: 5279:Letters of Credit: A View of Type Design 2806: 2551: 2380: 2061: 2017: 1908: 1860: 1803: 1720: 1625:), made at the request of type designer 1564: 1455: 1394: 1312: 1268: 1255: 1194: 1154: 1120: 1057: 1049: 1031:, were lost in Goudy's 1939 studio fire. 914: 906: 857: 778: 725: 693: 669: 628: 455: 399: 256: 228: 123: 95: 28: 5612: 5111:American Type Designers and Their Work. 4743: 3989: 3737:. Yale University Press. pp. 99–. 3661: 3132: 2851:), was designed in house by Linotype. 14: 6511: 6486:Goudy type designs at Lanston Type Co. 6343:Hello To Those Who Retain Their Sanity 5196: 5058: 4846: 4333: 3784: 3636: 3608: 3305: 3273: 3165: 3105: 3048: 3029: 1363:(1919, Village Letter Foundry + 1924, 1335:), basically a "filled in" version of 1327:(1918, Village Letter Foundry + 1924, 1281:(1918, Village Letter Foundry + 1924, 766:), cut for Munder-Thompson Company, a 241: 6391:", Black Cat Press, Chicago, 1939. A 6381: 6377:, Berkeley, Los Angeles, London, 1940 5585: 5130:Continental Type Founders Association 4796: 4790: 4612: 4451: 4341:"The Type Faces used in this Journal" 4084: 3811: 3254: 3229: 3204: 3138: 3111: 2841:), was designed in house by Monotype. 2022:Goudy Trajan in a modern digitisation 1645:Continental Type Founders Association 1137:): a set of swash capitals and other 1099:(Goudy did not say which). The dots ( 6529:Typefaces designed by Frederic Goudy 6297: 6225: 6069:Alexander S. Lawson (January 1990). 5818: 5660: 5613:Hardwig, Florian (9 February 2017). 5328: 4746:"Moby Dick, the Arion Press edition" 4500: 4474:Alexander S. Lawson (January 1990). 4452:Coyte, Madeline (20 December 2019). 4377: 4192: 2335:), named in memory of Goudy's wife, 2204:(1932, nc), named for the editor of 2066:Goudy Stout in a modern digitisation 1881:) Originally named 'Goudy Black'. A 1460:Monotype's first showing of Garamont 1433:(1921, privately cast), cut for the 1399:Goudy's Lining Gothic design of 1921 1387:advertising agency, matrices cut by 446:), a companion to the above. Cut by 295:type leaving his work out of favor. 6321:" Mitchell Kennerley, N.Y.C, 1918. 5127:Specimen Book of Continental Types, 5020:History of the Monotype Corporation 4271: 3788:Type: The Secret History of Letters 3761:Type: The Secret History of Letters 3704:Leslie Cabarga (15 February 2004). 3365: 3054: 2775:), were a further extension of the 2224:), later sold to Edwin Grabhorn, a 1865:Goudy Text in a modern digitisation 1027:), the matrices, which were cut by 794: 24: 5967:"Claremont (Scripps digitisation)" 5964: 5941: 5792: 5766: 5739: 5558: 4991: 4871: 4585: 4533: 4298: 3452: 3279: 3083: 2543:was a great admirer of the design. 2391:University of California Old Style 2377:University of California Old Style 2258:Saks Goudy, Italic & Bold Caps 2170:), basically a lighter version of 1716: 1293:. An open face design (similar to 1076: 1025:Klaxon Auto Warning Signal Company 564:), cut by Goudy for an edition of 25: 6540: 6505:, McLean County Museum of History 6473:The Frederick W. Goudy Collection 6410:The Ethics and Aesthetics of Type 6292: 5197:Heller, Steven (10 August 2015). 3581:"TYPE BY GOUDY - Modern Mechanix" 2723:), are out-and-out copies of the 2395:Goudy's 'California' font (1938, 2372:but with an upper and lower case. 1895:(1929, nc), a font of the eleven 1361:Goudy Open Italic + Modern Italic 530:. It was originally designed for 6406:Carnegie Institute of Technology 6277:. Parachute Fonts. February 2010 5865: 4744:Sherman, Nick (6 January 2012). 4303:. Michael & Winifred Bixler. 4219:Nolan, John; Steffmann, Dieter. 3812:Goudy, Frederic W (1939-01-01). 3707:Logo, Font & Lettering Bible 3637:Updike, Daniel Berkeley (1922). 3614:Twentieth century type designers 3007: 2893:Goudy also cut the matrices for 2548:"Goudy" faces designed by others 2479:(1941), a private face cast for 2260:(1934), a private type cast for 1913:Lombardic Capitals in metal type 1905:small caps to form a Greek font. 1820:) Though intended to be used on 1651:by the New England Type Foundry. 1535:. This face was then adapted by 1015:Barnhart Brothers & Spindler 1001:Barnhart Brothers & Spindler 5243: 5216: 5120: 5103: 5059:Saxena, Pooja (29 March 2012). 4840: 4826:. CRC Press. pp. 196–199. 4776: 4763: 4553: 4494: 4445: 4421: 4405:"Typography | Brand Guidelines" 4397: 4292: 4113:Frederic William Goudy (1940). 4085:Gross, John (21 October 1986). 3983: 3909: 3805: 3791:. I.B.Tauris. pp. 93–102. 3785:Loxley, Simon (31 March 2006). 3710:. Adams Media. pp. 108–9. 3655: 3602: 3573: 3446: 2965: 2934: 2924: 2914: 2655:as medium weight companions to 2354:(1936, nc), a collection of 65 2288: 2005: 1708:in 1943.) 2021 digitization by 1637: 1531:, who used it in an edition of 1301:or Modern serif fonts, such as 919:Goudy Forum on an advertisement 774: 686:), a font included twenty-six ' 339: 128:The first page of Goudy's book 6395:with an introduction by Goudy. 6375:University of California Press 6050:. Typographer Mediengestaltung 5594:. Typographer Mediengestaltung 5199:"Happiness is Times New Roman" 4877:"Comments on Typophile thread" 4621:. Typographer Mediengestaltung 4227:. Typographer Mediengestaltung 3261:. New York: Mitchell Kennerley 3096: 3023: 2811:Hadriano inlined in metal type 2401:University of California Press 2104:and named for Goudy's mother. 1987:), a private face cut for the 1693:), a private face cut for the 752:because of its use in ads for 742:), originally made for use in 53:, and many of his designs are 13: 1: 6467:Frederick W. Goudy Collection 5821:"Bertham (with added italic)" 5769:"Goudy Saks (Richard Beatty)" 5276:Walter Tracy (January 2003). 4938:Megan Benton (January 2000). 3764:. I.B.Tauris. pp. 134–. 3758:Simon Loxley (12 June 2006). 3731:Megan Benton (January 2000). 3428:"LTC Goudy Old Style Cursive" 2982: 2823:), was an in-line version of 1969:Goudy Sans Serif Light Italic 690:' and one leaf ornament only. 571:, later marketed by Monotype. 6503:Frederic W. Goudy Collection 6461:Typographer's Digest, No. 27 6228:"Abstrak (Abstract Revival)" 5282:. D.R. Godine. p. 121. 5224:"New Additions: August 2021" 4994:"Italian Old Style (Beatty)" 4454:"Sherman Type Specimen Book" 2671:), were in-line versions of 2445:and lower-case letters from 2228:printer, who had it cast by 1885:design, "text" is short for 1687:Companion Old Style + Italic 1585:), intended to compete with 979:, with some alterations, by 888:Kennerley Bold + Bold Italic 7: 6457:(Bloomington, IL newspaper) 6455:Frederic Goudy - Pantagraph 5992:"Scripps College Old Style" 3455:"My Type Design Philosophy" 2987: 2950:, and in the Monotype font 1792:Deepdene Bold + Bold Italic 1527:. It was also used by the 1445: 1265:Goudy Open and Goudy Modern 730:Sample image of Goudy Light 647:), originally designed for 605:Barron's Boston News Letter 524:Wiebking, Harding & Co. 428:department store. Cast by 329: 325:Typefaces designed by Goudy 36:The following is a list of 10: 6545: 6323:(alternative digitisation) 4378:Shaw, Paul (12 May 2011). 4058:Usherwood & Jackaman. 3236:. New York: The Typophiles 3211:. New York: The Typophiles 2755:Goudy Heavy Face Condensed 2709:as a companion to Goudy's 2495:Spencer Old Style + Italic 2429:Late designs, 1938 to 1945 2388: 1728: 1551:Italian Old Style + Italic 1449: 1317:Goudy Modern in metal type 1080: 798: 736:Goudy Light Roman + Italic 611:), a private face cut for 532:Kuppenheimer & Company 6175:"Daylilies and Dayleaves" 5109:Rollins, Carl Purlington 4897:: CS1 maint: unfit URL ( 2947:Hypnerotomachia Poliphili 2845:Pabst Old Style Condensed 2769:Goudy Extra Bold + Italic 2665:Goudy Handtooled + Italic 2477:Scripps College Old Style 1788:but evidently never cast. 1784:(1931, nc), designed for 1659:(1926, privately cast by 1575:Goudy Heavy Face + Italic 1569:Goudy Heavy in metal type 762:(1910, privately cast by 754:Gimbel's Department Store 119: 6524:Arts and Crafts movement 6412:, is printed at the end. 6389:Goudy, Master of Letters 4140:Lewis Blackwell (2004). 3255:Goudy, Frederic (1922). 3230:Goudy, Frederic (1946). 3205:Goudy, Frederic (1946). 2908: 2305:based on the letters of 1435:National Biscuit Company 1171:), quite similar to his 1046:1915 to 1926: Cut by ATF 51:Arts and Crafts movement 6497:The Deepdene Pantograph 6366:Oxford University Press 6364:"The Trajan Capitals," 6246:"Goudy Aries Ornaments" 5257:. Matteson Typographics 5132:, N.Y.C., 1929, p. 123. 4967:"LTC Italian Old Style" 4965:Hunt & Grieshaber. 4588:"National Old Style NF" 3966:"Village - Font Bureau" 3153:10.1163/157006971x00239 3126:10.1163/157006971x00301 2733:Kennerley Open Capitals 1938:Goudy Sans Serif series 1427:of over a decade later. 825:Oxford University Press 649:Marder, Luse, & Co. 566:Theodore Low De Vinne's 6123:"LTC Goudy Handtooled" 5944:"University Old Style" 5486:"Goudy Lombardic Caps" 5335:League of Movable Type 4802:"The 'Garamond' Types" 4507:League of Movable Type 4199:League of Movable Type 3990:Frazier, J.L. (1925). 3920:Anatomy of a Typeface. 3662:Frazier, J.L. (1925). 3555:"Adobe ITC Goudy Sans" 2812: 2778:Goudy Old Style series 2726:Goudy Old Style series 2699:Italian Old Style Wide 2556: 2386: 2067: 2023: 1959:Goudy Sans Serif Light 1945:Goudy Sans Serif Heavy 1914: 1866: 1809: 1726: 1725:Deepdene in metal type 1696:Woman's Home Companion 1661:Village Letter Foundry 1601:Village Letter Foundry 1570: 1513:Village Letter Foundry 1461: 1400: 1318: 1274: 1261: 1213:Morris Fuller Benton's 1200: 1160: 1126: 1070:American Type Founders 1064: 1055: 920: 912: 874:Village Letter Foundry 863: 842:Village Letter Foundry 784: 731: 712:Morris Fuller Benton's 699: 675: 634: 467: 405: 350:Dickinson Type Foundry 313:designs the adjective 270: 248:Daniel Berkeley Updike 234: 222:, adopts an eccentric 199:offering a strikingly 141: 101: 75:illuminated manuscript 73:medieval manuscripts, 33: 6360:Type Design: A Homily 6328:Elements of Lettering 6072:Anatomy of a Typeface 5251:"Companion Old Style" 5061:"Chasing Curiosities" 4477:Anatomy of a Typeface 4315:"Poliphilus specimen" 3315:by D. J. R. Bruckner" 3258:Elements of Lettering 3030:Sloane, Eric (2006). 2849:Mergenthaler Linotype 2810: 2747:Goudy Heavy Face Open 2555: 2487:Scrips College Italic 2457:Photostat Corporation 2384: 2190:Limited Editions Club 2065: 2021: 1989:Limited Editions Club 1912: 1864: 1839:Theodore Low De Vinne 1807: 1724: 1568: 1459: 1413:Elements of Lettering 1398: 1316: 1272: 1259: 1198: 1158: 1124: 1089:Anatomy of a Typeface 1061: 1053: 918: 910: 861: 782: 729: 697: 673: 632: 459: 422:Pabst Brewing Company 403: 394:Theodore Low De Vinne 260: 232: 174:hot metal typesetting 130:Elements of Lettering 127: 99: 79:Roman square capitals 32: 5742:"Franciscan Caps NF" 5588:"Goudy Mediaeval TM" 4561:"LTC Goudy Oldstyle" 3862:"LTC Pabst Oldstyle" 3371:"Printing the Times" 3309:(16 December 1990). 2783:Morris Fuller Benton 2761:), were designed by 2739:), were designed by 2717:Number Eleven series 2691:. The 1937 textbook 2677:Morris Fuller Benton 2653:Morris Fuller Benton 2651:), were designed by 2645:Goudy Catalog Italic 2631:Morris Fuller Benton 2629:and was designed by 2597:Morris Fuller Benton 2595:), were designed by 2268:Saks Goudy Bold Caps 1834:Architectural Record 1814:Remington Typewriter 1545:Oxford Lectern Bible 1474:Imprimerie nationale 1297:) but influenced by 1141:for Goudy Old Style. 1139:alternate characters 653:Morris Fuller Benton 386:Central Type Foundry 273:The British printer 6481:Library of Congress 6271:"PF Goudy Initials" 5586:Steffmann, Dieter. 5149:Kegler & Kahn. 5034:"Italian Old Style" 4613:Steffmann, Dieter. 4066:. Red Rooster Fonts 3996:. Chicago. p. 3668:. Chicago. p. 2681:Wadsworth A. Parker 2673:Goudy Bold + Italic 2565:Inland Type Foundry 2499:Syracuse University 2012:Unnamed (two faces) 1902:Kennerley Old Style 1770:), matrices cut by 1731:Deepdene (typeface) 1700:not like it). (The 1367:), matrices cut by 1347:'s 1980 edition of 1289:), matrices cut by 1250:lower case letters. 1240:Hadriano Lower Case 1232:), matrices cut by 1183:Library of Congress 955:Syracuse University 838:Kennerley Old Style 801:Kennerley Old Style 569:The Old and the New 486:Inland Type Foundry 242:Critical assessment 116:used by composers. 6519:Lists of typefaces 6382:Additional sources 6336:Mitchell Kennerley 6097:"Goudy Catalog MT" 6018:"LTC Goudy Thirty" 5689:"LTC Goudy Ornate" 5382:"LTC Record Title" 5086:"Goudy Heavy Face" 5065:It's a nerd's life 4503:"Sorts Mill Goudy" 4409:brand.syracuse.edu 4380:"Flawed Typefaces" 4354:(232): 4, 25. 1929 4321:. 10 February 2009 3941:"LTC Village No 2" 3399:"LTC Goudy Modern" 2871:Berkeley Old Style 2817:Hadriano Stone Cut 2813: 2557: 2473:, never completed. 2399:) was cut for the 2387: 2282:Textbook Old Style 2264:department store. 2156:Deepdene Open Text 2134:Deepdene Open Text 2102:the Colophon No. 5 2094:Truesdell + Italic 2068: 2052:Advertisers Modern 2024: 1919:Lombardic Capitals 1915: 1867: 1810: 1727: 1571: 1462: 1401: 1339:, matrices cut by 1319: 1275: 1262: 1216:Cloister Old Style 1201: 1189:Advertiser's Roman 1165:National Old Style 1161: 1127: 1065: 1056: 921: 913: 864: 807:Mitchell Kennerley 785: 732: 710:), a companion to 700: 676: 640:Copperplate Gothic 635: 613:Clarence W. Barron 548:Dale Guild Foundry 496:and height of the 468: 440:Pabst Roman Italic 406: 271: 235: 214:being sold with a 151:Copperplate Gothic 142: 138:Mitchell Kennerley 102: 83:Copperplate Gothic 67:hand-painted signs 34: 6499:(Circuitous Root) 6493:(Circuitous Root) 6449:Popular Mechanics 6355:Ars Typographisch 6298:Writings by Goudy 6234:. Bomparte Fonts. 6181:. Judith Sutcliff 6149:"Goudy Two Shoes" 6082:978-0-87923-333-4 6044:"Goudy Thirty TM" 5965:Beatty, Richard. 5942:Beatty, Richard. 5895:"LTC Californian" 5819:Matteson, Steve. 5793:Beatty, Richard. 5767:Beatty, Richard. 5715:"Goudy Ornate MT" 5661:Matteson, Steve. 5561:"Goudy Mediaeval" 5559:Beatty, Richard. 5329:Schwartz, Barry. 5289:978-1-56792-240-0 4992:Beatty, Richard. 4951:978-0-300-08213-5 4833:978-0-8247-2109-1 4773:, September 1997. 4719:"Goudy Modern MT" 4615:"Goudy Initialen" 4501:Schwartz, Barry. 4487:978-0-87923-333-4 4348:Monotype Recorder 4299:Bixler, M&W. 4274:"Goudy Forum Pro" 4247:"LTC Forum Title" 4193:Schwartz, Barry. 4153:978-1-85669-351-6 4143:20th-century Type 4126:978-0-520-03308-5 3916:Lawson, Alexander 3798:978-0-85773-017-6 3771:978-1-84511-028-4 3744:978-0-300-08213-5 3610:Carter, Sebastian 3349:Monotype Recorder 3280:Carter, Matthew. 2835:Goudy Text Shaded 2711:Italian Old Style 2599:as companions to 2589:Goudy Bold Italic 2515:Hebrew University 2262:Saks Fifth Avenue 2202:Quinian Old Style 2130:), capitals only. 1893:Inscription Greek 1629:to accompany his 1377:Collier Old Style 1205:Cloister Initials 1145:Booklet Old Style 1037:, a companion to 704:Globe Gothic Bold 698:Globe Gothic Bold 354:Joseph W. Phinney 303:Letters of Credit 176:, and his client 18:Italian Old Style 16:(Redirected from 6536: 6491:Goudy’s Matrices 6398:Lewis, Bernard: 6368:, New York, 1936 6287: 6286: 6284: 6282: 6267: 6261: 6260: 6258: 6256: 6242: 6236: 6235: 6226:Bomparte, John. 6223: 6217: 6216: 6214: 6212: 6197: 6191: 6190: 6188: 6186: 6171: 6165: 6164: 6162: 6160: 6145: 6139: 6138: 6136: 6134: 6119: 6113: 6112: 6110: 6108: 6093: 6087: 6086: 6066: 6060: 6059: 6057: 6055: 6040: 6034: 6033: 6031: 6029: 6014: 6008: 6007: 6005: 6003: 5988: 5982: 5981: 5979: 5977: 5962: 5956: 5955: 5953: 5951: 5939: 5933: 5932: 5930: 5928: 5917: 5911: 5910: 5908: 5906: 5891: 5885: 5884: 5882: 5880: 5873:"Californian FB" 5869: 5863: 5862: 5860: 5858: 5843: 5837: 5836: 5834: 5832: 5816: 5810: 5809: 5807: 5805: 5790: 5784: 5783: 5781: 5779: 5764: 5758: 5757: 5755: 5753: 5737: 5731: 5730: 5728: 5726: 5711: 5705: 5704: 5702: 5700: 5685: 5679: 5678: 5676: 5674: 5658: 5652: 5651: 5649: 5647: 5636: 5630: 5629: 5627: 5625: 5610: 5604: 5603: 5601: 5599: 5583: 5577: 5576: 5574: 5572: 5567:. Richard Beatty 5556: 5550: 5549: 5547: 5545: 5534: 5528: 5527: 5525: 5523: 5508: 5502: 5501: 5499: 5497: 5482: 5476: 5475: 5473: 5471: 5456: 5450: 5449: 5447: 5445: 5430: 5424: 5423: 5421: 5419: 5408:"LTC Goudy Text" 5404: 5398: 5397: 5395: 5393: 5378: 5372: 5371: 5369: 5367: 5352: 5346: 5345: 5343: 5341: 5326: 5320: 5319: 5317: 5315: 5300: 5294: 5293: 5273: 5267: 5266: 5264: 5262: 5247: 5241: 5240: 5238: 5236: 5220: 5214: 5213: 5211: 5209: 5194: 5188: 5187: 5185: 5183: 5172: 5166: 5165: 5163: 5161: 5146: 5133: 5124: 5118: 5107: 5101: 5100: 5098: 5096: 5082: 5076: 5075: 5073: 5071: 5056: 5050: 5049: 5047: 5045: 5030: 5024: 5023: 5015: 5009: 5008: 5006: 5004: 4989: 4983: 4982: 4980: 4978: 4962: 4956: 4955: 4935: 4929: 4928: 4926: 4924: 4909: 4903: 4902: 4896: 4888: 4886: 4884: 4869: 4863: 4862: 4852:"Printer's Note" 4850:(January 1923). 4844: 4838: 4837: 4816: 4810: 4809: 4794: 4788: 4787: 4780: 4774: 4767: 4761: 4760: 4758: 4756: 4741: 4735: 4734: 4732: 4730: 4725:. Adobe/Monotype 4715: 4709: 4708: 4706: 4704: 4699:. 6 January 2012 4689: 4683: 4682: 4680: 4678: 4667:"LTC Goudy Open" 4663: 4657: 4656: 4654: 4652: 4637: 4631: 4630: 4628: 4626: 4610: 4604: 4603: 4601: 4599: 4583: 4577: 4576: 4574: 4572: 4557: 4551: 4550: 4548: 4546: 4534:Pesala, Bhikku. 4531: 4518: 4517: 4515: 4513: 4498: 4492: 4491: 4471: 4465: 4464: 4462: 4460: 4449: 4443: 4442: 4440: 4439: 4425: 4419: 4418: 4416: 4415: 4401: 4395: 4394: 4392: 4390: 4375: 4364: 4363: 4361: 4359: 4345: 4337: 4331: 4330: 4328: 4326: 4311: 4305: 4304: 4296: 4290: 4289: 4287: 4285: 4269: 4263: 4262: 4260: 4258: 4243: 4237: 4236: 4234: 4232: 4216: 4210: 4209: 4207: 4205: 4190: 4184: 4183: 4181: 4179: 4164: 4158: 4157: 4137: 4131: 4130: 4110: 4104: 4103: 4101: 4099: 4082: 4076: 4075: 4073: 4071: 4055: 4049: 4048: 4046: 4044: 4029: 4023: 4022: 4016: 4008: 4006: 4004: 3987: 3981: 3980: 3978: 3976: 3962: 3956: 3955: 3953: 3951: 3937: 3931: 3913: 3907: 3906: 3904: 3902: 3887: 3878: 3877: 3875: 3873: 3858: 3852: 3851: 3849: 3847: 3832: 3826: 3825: 3809: 3803: 3802: 3782: 3776: 3775: 3755: 3749: 3748: 3728: 3722: 3721: 3701: 3695: 3694: 3688: 3680: 3678: 3676: 3659: 3653: 3652: 3650: 3648: 3634: 3628: 3627: 3606: 3600: 3599: 3597: 3596: 3587:. Archived from 3577: 3571: 3570: 3568: 3566: 3551: 3542: 3541: 3539: 3537: 3526:"ITC Goudy Sans" 3522: 3513: 3512: 3510: 3508: 3497: 3488: 3487: 3485: 3483: 3472:"LTC Goudy Sans" 3468: 3459: 3458: 3453:Majoor, Martin. 3450: 3444: 3443: 3441: 3439: 3424: 3415: 3414: 3412: 3410: 3395: 3386: 3385: 3383: 3381: 3367:Morison, Stanley 3363: 3357: 3356: 3346: 3338: 3332: 3331: 3329: 3327: 3303: 3297: 3296: 3294: 3292: 3277: 3271: 3270: 3268: 3266: 3252: 3246: 3245: 3243: 3241: 3227: 3221: 3220: 3218: 3216: 3202: 3196: 3195: 3193: 3191: 3163: 3157: 3156: 3136: 3130: 3129: 3109: 3103: 3100: 3094: 3093: 3081: 3072: 3071: 3069: 3067: 3052: 3046: 3045: 3027: 3021: 3020: 3018: 3016: 3005: 2994: 2977: 2969: 2963: 2938: 2932: 2928: 2922: 2918: 2853:Pabst Extra Bold 2839:Lanston Monotype 2821:Lanston Monotype 2803:mentioned above. 2759:Lanston Monotype 2751:Lanston Monotype 2737:Lanston Monotype 2703:Lanston Monotype 2693:26 Lead Soldiers 2685:Lanston Monotype 2607:Lanston Monotype 2529:Lanston Monotype 2505:Marlborough Text 2435:New Village Text 2412:Lanston Monotype 2311:New Village Text 2230:Lanston Monotype 2206:American Mercury 2108:Truesdell Italic 1999:Strathmore Title 1973:Lanston Monotype 1963:Lanston Monotype 1953:Lanston Monotype 1927:Lanston Monotype 1879:Lanston Monotype 1818:Lanston Monotype 1796:Lanston Monotype 1786:Lanston Monotype 1774:. Notable for a 1768:Lanston Monotype 1754:Lanston Monotype 1691:Lanston Monotype 1613:Lanston Monotype 1579:Lanston Monotype 1555:Lanston Monotype 1521:Lanston Monotype 1494:swash characters 1466:Lanston Monotype 1295:Imprint Shadowed 1226:Lanston Monotype 1116:26 Lead Soldiers 969:Lanston Monotype 965:26 Lead Soldiers 929:Lanston Monotype 892:Lanston Monotype 878:Lanston Monotype 870:Kennerley Italic 846:Lanston Monotype 817:Bishop John Fell 795:Kennerley series 740:Lanston Monotype 688:Lombard capitals 623:Engravers' Roman 583:Lanston Monotype 562:Lanston Monotype 336: 21: 6544: 6543: 6539: 6538: 6537: 6535: 6534: 6533: 6509: 6508: 6384: 6300: 6295: 6290: 6280: 6278: 6269: 6268: 6264: 6254: 6252: 6244: 6243: 6239: 6224: 6220: 6210: 6208: 6199: 6198: 6194: 6184: 6182: 6173: 6172: 6168: 6158: 6156: 6147: 6146: 6142: 6132: 6130: 6121: 6120: 6116: 6106: 6104: 6095: 6094: 6090: 6083: 6067: 6063: 6053: 6051: 6042: 6041: 6037: 6027: 6025: 6016: 6015: 6011: 6001: 5999: 5990: 5989: 5985: 5975: 5973: 5963: 5959: 5949: 5947: 5940: 5936: 5926: 5924: 5919: 5918: 5914: 5904: 5902: 5893: 5892: 5888: 5878: 5876: 5871: 5870: 5866: 5856: 5854: 5845: 5844: 5840: 5830: 5828: 5817: 5813: 5803: 5801: 5791: 5787: 5777: 5775: 5765: 5761: 5751: 5749: 5738: 5734: 5724: 5722: 5713: 5712: 5708: 5698: 5696: 5687: 5686: 5682: 5672: 5670: 5659: 5655: 5645: 5643: 5638: 5637: 5633: 5623: 5621: 5611: 5607: 5597: 5595: 5584: 5580: 5570: 5568: 5557: 5553: 5543: 5541: 5536: 5535: 5531: 5521: 5519: 5512:"LTC Kaatskill" 5510: 5509: 5505: 5495: 5493: 5484: 5483: 5479: 5469: 5467: 5458: 5457: 5453: 5443: 5441: 5434:"Goudy Text CT" 5432: 5431: 5427: 5417: 5415: 5406: 5405: 5401: 5391: 5389: 5380: 5379: 5375: 5365: 5363: 5356:"LTC Remington" 5354: 5353: 5349: 5339: 5337: 5327: 5323: 5313: 5311: 5302: 5301: 5297: 5290: 5274: 5270: 5260: 5258: 5249: 5248: 5244: 5234: 5232: 5222: 5221: 5217: 5207: 5205: 5195: 5191: 5181: 5179: 5174: 5173: 5169: 5159: 5157: 5147: 5136: 5125: 5121: 5108: 5104: 5094: 5092: 5084: 5083: 5079: 5069: 5067: 5057: 5053: 5043: 5041: 5032: 5031: 5027: 5016: 5012: 5002: 5000: 4990: 4986: 4976: 4974: 4963: 4959: 4952: 4936: 4932: 4922: 4920: 4911: 4910: 4906: 4890: 4889: 4882: 4880: 4870: 4866: 4845: 4841: 4834: 4817: 4813: 4798:Warde, Beatrice 4795: 4791: 4786:. 18 June 2006. 4782: 4781: 4777: 4768: 4764: 4754: 4752: 4742: 4738: 4728: 4726: 4717: 4716: 4712: 4702: 4700: 4691: 4690: 4686: 4676: 4674: 4665: 4664: 4660: 4650: 4648: 4639: 4638: 4634: 4624: 4622: 4611: 4607: 4597: 4595: 4584: 4580: 4570: 4568: 4559: 4558: 4554: 4544: 4542: 4532: 4521: 4511: 4509: 4499: 4495: 4488: 4472: 4468: 4458: 4456: 4450: 4446: 4437: 4435: 4427: 4426: 4422: 4413: 4411: 4403: 4402: 4398: 4388: 4386: 4376: 4367: 4357: 4355: 4343: 4339: 4338: 4334: 4324: 4322: 4313: 4312: 4308: 4297: 4293: 4283: 4281: 4270: 4266: 4256: 4254: 4245: 4244: 4240: 4230: 4228: 4217: 4213: 4203: 4201: 4191: 4187: 4177: 4175: 4168:"LTC Kennerley" 4166: 4165: 4161: 4154: 4138: 4134: 4127: 4111: 4107: 4097: 4095: 4083: 4079: 4069: 4067: 4056: 4052: 4042: 4040: 4031: 4030: 4026: 4010: 4009: 4002: 4000: 3988: 3984: 3974: 3972: 3964: 3963: 3959: 3949: 3947: 3939: 3938: 3934: 3914: 3910: 3900: 3898: 3889: 3888: 3881: 3871: 3869: 3860: 3859: 3855: 3845: 3843: 3834: 3833: 3829: 3810: 3806: 3799: 3783: 3779: 3772: 3756: 3752: 3745: 3729: 3725: 3718: 3702: 3698: 3682: 3681: 3674: 3672: 3660: 3656: 3646: 3644: 3635: 3631: 3624: 3607: 3603: 3594: 3592: 3585:Modern Mechanix 3579: 3578: 3574: 3564: 3562: 3553: 3552: 3545: 3535: 3533: 3524: 3523: 3516: 3506: 3504: 3501:"Goudy Sans FS" 3499: 3498: 3491: 3481: 3479: 3470: 3469: 3462: 3451: 3447: 3437: 3435: 3426: 3425: 3418: 3408: 3406: 3397: 3396: 3389: 3379: 3377: 3364: 3360: 3344: 3340: 3339: 3335: 3325: 3323: 3304: 3300: 3290: 3288: 3278: 3274: 3264: 3262: 3253: 3249: 3239: 3237: 3228: 3224: 3214: 3212: 3203: 3199: 3189: 3187: 3185: 3164: 3160: 3137: 3133: 3110: 3106: 3101: 3097: 3082: 3075: 3065: 3063: 3055:Cameron, Alex. 3053: 3049: 3042: 3028: 3024: 3014: 3012: 3006: 2999: 2985: 2980: 2974:Reed & Sons 2970: 2966: 2939: 2935: 2929: 2925: 2919: 2915: 2911: 2895:Foster Abstract 2705:), designed by 2658:Goudy Old Style 2626:Goudy Old Style 2602:Goudy Old Style 2550: 2481:Scripps College 2431: 2393: 2379: 2291: 2232:and renamed it 2188:), cut for the 2084:Vincent Connare 2056:The Advertiser. 2008: 1949:Sans Serif Bold 1782:Deepdene Medium 1772:Bertha M. Goudy 1760:Deepdene Italic 1737:Jan van Krimpen 1733: 1719: 1717:Deepdene series 1706:Times New Roman 1640: 1627:George W. Jones 1543:for the famous 1533:Leaves of Grass 1478:Claude Garamont 1454: 1448: 1267: 1085: 1083:Goudy Old Style 1079: 1077:Goudy Old Style 1048: 1023:(1914, cut for 983:under the name 904: 810: 803: 797: 789:Robert Wiebking 777: 760:Norman Capitals 680:Caxton Initials 664: 476:Pabst Old Style 448:Robert Wiebking 410:Pabst Old Style 342: 327: 309:Goudy gave his 284:Times New Roman 275:Stanley Morison 244: 212:Goudy Old Style 184:. Both allowed 122: 55:old-style serif 23: 22: 15: 12: 11: 5: 6542: 6532: 6531: 6526: 6521: 6507: 6506: 6500: 6494: 6488: 6483: 6470: 6464: 6458: 6452: 6442: 6431: 6420: 6413: 6396: 6387:Orton, Vrest " 6383: 6380: 6379: 6378: 6369: 6362: 6351: 6350:magazine, 1928 6339: 6325: 6315: 6299: 6296: 6294: 6293:External links 6291: 6289: 6288: 6262: 6237: 6218: 6192: 6166: 6140: 6114: 6088: 6081: 6061: 6035: 6009: 5983: 5957: 5934: 5912: 5886: 5864: 5838: 5811: 5785: 5759: 5748:. Nick's Fonts 5740:Curtis, Nick. 5732: 5706: 5680: 5653: 5631: 5605: 5578: 5551: 5529: 5503: 5477: 5451: 5425: 5399: 5373: 5347: 5321: 5304:"LTC Deepdene" 5295: 5288: 5268: 5242: 5215: 5203:Print magazine 5189: 5167: 5134: 5119: 5102: 5077: 5051: 5025: 5022:. p. 196. 5010: 4984: 4957: 4950: 4930: 4913:"LTC Garamont" 4904: 4864: 4839: 4832: 4811: 4789: 4775: 4762: 4736: 4710: 4684: 4658: 4632: 4605: 4594:. Nick's Fonts 4586:Curtis, Nick. 4578: 4552: 4519: 4493: 4486: 4466: 4444: 4420: 4396: 4384:Print magazine 4365: 4332: 4306: 4291: 4272:Rickner, Tom. 4264: 4238: 4221:"Goudy Twenty" 4211: 4185: 4159: 4152: 4132: 4125: 4105: 4092:New York Times 4077: 4050: 4033:"Globe Gothic" 4024: 3982: 3957: 3932: 3908: 3879: 3853: 3827: 3804: 3797: 3777: 3770: 3750: 3743: 3723: 3716: 3696: 3654: 3629: 3622: 3601: 3572: 3543: 3514: 3489: 3460: 3445: 3416: 3387: 3358: 3333: 3320:New York Times 3313:Frederic Goudy 3298: 3272: 3247: 3222: 3197: 3183: 3158: 3147:(4): 282–301. 3131: 3104: 3095: 3092:. Canada Type. 3086:"Poster Paint" 3073: 3047: 3040: 3022: 2996: 2984: 2981: 2979: 2978: 2964: 2942:Aldus Manutius 2933: 2923: 2912: 2910: 2907: 2891: 2890: 2880: 2874: 2868: 2862: 2842: 2832: 2825:Hadriano Title 2805: 2804: 2786: 2766: 2744: 2730: 2714: 2696: 2683:. Again, the 2662: 2634: 2614: 2578: 2572: 2549: 2546: 2545: 2544: 2535:', a style of 2522: 2512: 2502: 2492: 2491: 2490: 2474: 2471:William Bulmer 2464: 2450: 2430: 2427: 2405:Nicolas Jenson 2389:Main article: 2378: 2375: 2374: 2373: 2359: 2349: 2343: 2326: 2320: 2314: 2290: 2287: 2286: 2285: 2279: 2273: 2272: 2271: 2255: 2249: 2243: 2240:Goudy Boldface 2237: 2218:Aries (re-cut) 2215: 2209: 2199: 2198: 2197: 2161: 2160: 2159: 2131: 2117: 2116: 2115: 2091: 2060: 2059: 2049: 2039: 2016: 2015: 2007: 2004: 2003: 2002: 1996: 1993:Rip Van Winkle 1978: 1977: 1976: 1966: 1956: 1934: 1907: 1906: 1897:Greek capitals 1890: 1859: 1858: 1848: 1842: 1826: 1802: 1801: 1800: 1799: 1789: 1779: 1776:nearly-upright 1757: 1729:Main article: 1718: 1715: 1714: 1713: 1710:Steve Matteson 1684: 1678: 1668: 1639: 1636: 1635: 1634: 1619:Venezia Italic 1616: 1594: 1563: 1562: 1548: 1529:Grabhorn Press 1509:Goudy Newstyle 1482:Beatrice Warde 1480:. Research by 1450:Main article: 1447: 1444: 1443: 1442: 1428: 1393: 1392: 1374: 1373: 1372: 1358: 1343:. Used in the 1311: 1310: 1266: 1263: 1254: 1253: 1252: 1251: 1248:Kennerley Bold 1244:Hadriano Title 1222:Hadriano Title 1219: 1193: 1192: 1186: 1176: 1153: 1152: 1142: 1081:Main article: 1078: 1075: 1047: 1044: 1043: 1042: 1032: 1018: 1011:Caslon Foundry 1004: 958: 948: 941:Greek-inspired 902: 901: 900: 899: 885: 856: 855: 854: 853: 829:Nicolas Jenson 799:Main article: 796: 793: 776: 773: 772: 771: 757: 724: 723: 719:Caslon Revised 715: 692: 691: 668: 667: 627: 626: 620: 602: 591:Cushing Italic 588: 587: 586: 575:Village Italic 572: 551: 544:Nicolas Jenson 536:William Morris 514:Village series 510: 509: 508: 454: 453: 452: 451: 398: 397: 379: 367: 357: 341: 338: 326: 323: 267:William Morris 243: 240: 121: 118: 59:William Morris 43:Frederic Goudy 9: 6: 4: 3: 2: 6541: 6530: 6527: 6525: 6522: 6520: 6517: 6516: 6514: 6504: 6501: 6498: 6495: 6492: 6489: 6487: 6484: 6482: 6478: 6474: 6471: 6468: 6465: 6462: 6459: 6456: 6453: 6450: 6446: 6445:Type By Goudy 6443: 6440: 6439:0-8109-1035-7 6436: 6432: 6429: 6428:0-938768-34-4 6425: 6421: 6418: 6414: 6411: 6407: 6403: 6402: 6397: 6394: 6390: 6386: 6385: 6376: 6373: 6370: 6367: 6363: 6361: 6357: 6356: 6352: 6349: 6345: 6344: 6340: 6338:, N.Y.C, 1922 6337: 6333: 6329: 6326: 6324: 6320: 6316: 6313: 6309: 6305: 6302: 6301: 6276: 6272: 6266: 6251: 6247: 6241: 6233: 6229: 6222: 6206: 6202: 6201:"Goudy Swash" 6196: 6180: 6176: 6170: 6155:. Canada Type 6154: 6150: 6144: 6128: 6124: 6118: 6102: 6098: 6092: 6084: 6078: 6074: 6073: 6065: 6049: 6045: 6039: 6023: 6019: 6013: 5997: 5993: 5987: 5972: 5968: 5961: 5945: 5938: 5922: 5916: 5900: 5896: 5890: 5875:. Font Bureau 5874: 5868: 5852: 5848: 5842: 5826: 5822: 5815: 5800: 5796: 5789: 5774: 5770: 5763: 5747: 5743: 5736: 5720: 5716: 5710: 5694: 5690: 5684: 5668: 5664: 5657: 5641: 5640:"Goudy Stout" 5635: 5620: 5616: 5609: 5593: 5589: 5582: 5566: 5562: 5555: 5539: 5533: 5517: 5513: 5507: 5491: 5487: 5481: 5465: 5461: 5455: 5440:. Castle Type 5439: 5435: 5429: 5413: 5409: 5403: 5387: 5383: 5377: 5361: 5357: 5351: 5336: 5332: 5331:"Linden Hill" 5325: 5309: 5305: 5299: 5291: 5285: 5281: 5280: 5272: 5256: 5252: 5246: 5231: 5230: 5225: 5219: 5204: 5200: 5193: 5177: 5171: 5156: 5152: 5151:"Goudy Aries" 5145: 5143: 5141: 5139: 5131: 5128: 5123: 5116: 5112: 5106: 5091: 5087: 5081: 5066: 5062: 5055: 5039: 5035: 5029: 5021: 5014: 4999: 4995: 4988: 4972: 4968: 4961: 4953: 4947: 4943: 4942: 4934: 4918: 4914: 4908: 4900: 4894: 4878: 4874: 4873:Mosley, James 4868: 4861: 4857: 4853: 4849: 4848:Rogers, Bruce 4843: 4835: 4829: 4825: 4824: 4815: 4807: 4803: 4799: 4793: 4785: 4779: 4772: 4766: 4751: 4747: 4740: 4724: 4720: 4714: 4698: 4694: 4688: 4672: 4668: 4662: 4646: 4642: 4636: 4620: 4616: 4609: 4593: 4589: 4582: 4566: 4562: 4556: 4541: 4537: 4530: 4528: 4526: 4524: 4508: 4504: 4497: 4489: 4483: 4479: 4478: 4470: 4455: 4448: 4434: 4430: 4424: 4410: 4406: 4400: 4385: 4381: 4374: 4372: 4370: 4353: 4349: 4342: 4336: 4320: 4316: 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3251: 3235: 3234: 3226: 3210: 3209: 3201: 3186: 3184:9781568984278 3180: 3176: 3172: 3168: 3167:Mosley, James 3162: 3154: 3150: 3146: 3142: 3135: 3127: 3123: 3119: 3115: 3108: 3099: 3091: 3087: 3084:Rimmer, Jim. 3080: 3078: 3062: 3058: 3051: 3043: 3041:9780486447735 3037: 3033: 3026: 3011: 3004: 3002: 2997: 2995: 2992: 2975: 2968: 2961: 2957: 2953: 2949: 2948: 2943: 2937: 2927: 2917: 2913: 2906: 2902: 2900: 2896: 2888: 2884: 2881: 2878: 2875: 2872: 2869: 2866: 2863: 2860: 2859: 2854: 2850: 2846: 2843: 2840: 2836: 2833: 2830: 2826: 2822: 2818: 2815: 2814: 2809: 2802: 2801:Goudy Lanston 2798: 2794: 2790: 2789:Foster Italic 2787: 2784: 2780: 2779: 2774: 2770: 2767: 2764: 2760: 2756: 2752: 2748: 2745: 2742: 2738: 2734: 2731: 2728: 2727: 2722: 2718: 2715: 2712: 2708: 2704: 2700: 2697: 2694: 2690: 2686: 2682: 2678: 2674: 2670: 2666: 2663: 2660: 2659: 2654: 2650: 2646: 2642: 2638: 2637:Goudy Catalog 2635: 2632: 2628: 2627: 2622: 2618: 2615: 2612: 2608: 2604: 2603: 2598: 2594: 2590: 2586: 2582: 2579: 2576: 2575:Powell Italic 2573: 2570: 2566: 2562: 2559: 2558: 2554: 2542: 2538: 2534: 2530: 2526: 2523: 2520: 2516: 2513: 2510: 2506: 2503: 2500: 2496: 2493: 2488: 2485: 2484: 2482: 2478: 2475: 2472: 2468: 2465: 2462: 2458: 2454: 2451: 2448: 2447:Deepdene Text 2444: 2440: 2436: 2433: 2432: 2426: 2424: 2419: 2417: 2413: 2408: 2406: 2402: 2398: 2392: 2383: 2371: 2370:uncial script 2367: 2363: 2360: 2357: 2353: 2350: 2347: 2344: 2341: 2339: 2334: 2330: 2327: 2324: 2321: 2318: 2315: 2312: 2308: 2307:Geoffroy Tory 2304: 2300: 2296: 2293: 2292: 2283: 2280: 2277: 2274: 2269: 2266: 2265: 2263: 2259: 2256: 2253: 2250: 2247: 2244: 2241: 2238: 2235: 2231: 2227: 2226:San Francisco 2223: 2219: 2216: 2213: 2210: 2207: 2203: 2200: 2195: 2191: 2187: 2183: 2182:Goethe Italic 2180: 2179: 2177: 2173: 2169: 2165: 2162: 2157: 2153: 2149: 2148:Deepdene Text 2146: 2145: 2143: 2139: 2135: 2132: 2129: 2125: 2121: 2118: 2113: 2109: 2106: 2105: 2103: 2099: 2095: 2092: 2089: 2085: 2081: 2077: 2073: 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Issued in 974: 973:Goudy Antique 970: 966: 962: 961:Goudy Lanston 959: 956: 952: 949: 946: 942: 938: 934: 933:Arch of Titus 930: 926: 923: 922: 917: 909: 905: 897: 893: 889: 886: 883: 879: 875: 871: 868: 867: 866: 865: 860: 851: 847: 843: 839: 836: 835: 834: 833: 832: 830: 826: 822: 818: 815:collected by 814: 808: 802: 792: 790: 781: 769: 765: 761: 758: 755: 751: 747: 746: 741: 737: 734: 733: 728: 721: 720: 716: 713: 709: 705: 702: 701: 696: 689: 685: 681: 678: 677: 672: 662: 658: 654: 650: 646: 642: 641: 637: 636: 631: 624: 621: 618: 614: 610: 606: 603: 600: 599:Cushing Roman 596: 592: 589: 584: 580: 576: 573: 570: 567: 563: 559: 555: 554:Village No. 2 552: 549: 545: 541: 540:'Golden' type 537: 533: 529: 525: 521: 518: 517: 515: 511: 506: 505: 504:differently. 503: 499: 495: 491: 487: 483: 482: 477: 473: 470: 469: 465: 464: 458: 449: 445: 441: 438: 437: 435: 431: 427: 423: 419: 415: 411: 408: 407: 402: 395: 391: 387: 383: 382:DeVinne Roman 380: 377: 376: 371: 370:Display Roman 368: 365: 361: 358: 355: 351: 347: 344: 343: 337: 334: 322: 320: 317:, short for ' 316: 312: 307: 304: 300: 296: 294: 290: 285: 280: 276: 268: 264: 259: 255: 253: 249: 239: 231: 227: 225: 221: 217: 213: 209: 205: 202: 198: 193: 191: 187: 183: 179: 175: 170: 167: 163: 159: 154: 152: 148: 139: 135: 131: 126: 117: 115: 111: 107: 100:Goudy in 1924 98: 94: 91: 86: 84: 80: 77:capitals and 76: 72: 68: 64: 60: 56: 52: 47: 45: 44: 39: 31: 27: 19: 6409: 6399: 6359: 6354: 6347: 6342: 6332:Bertha Goudy 6303: 6281:17 September 6279:. 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Retrieved 3008:Shaw, Paul. 2986: 2967: 2956:Hermann Zapf 2945: 2936: 2926: 2916: 2903: 2894: 2892: 2882: 2876: 2870: 2864: 2858:Cooper Black 2856: 2852: 2844: 2834: 2827:designed by 2824: 2816: 2800: 2793:Moore Italic 2792: 2788: 2776: 2768: 2754: 2746: 2732: 2724: 2716: 2710: 2698: 2692: 2672: 2664: 2656: 2644: 2636: 2624: 2616: 2600: 2588: 2580: 2574: 2568: 2560: 2541:Bruce Rogers 2525:Goudy Thirty 2524: 2514: 2504: 2494: 2486: 2476: 2466: 2452: 2446: 2442: 2434: 2420: 2409: 2394: 2361: 2351: 2345: 2337: 2328: 2322: 2316: 2310: 2294: 2289:1935 to 1938 2281: 2275: 2267: 2257: 2251: 2245: 2239: 2233: 2217: 2211: 2201: 2194:Frankenstein 2189: 2181: 2172:Goudy Modern 2171: 2163: 2155: 2147: 2133: 2124:Ornate Title 2123: 2120:Goudy Ornate 2119: 2107: 2093: 2071: 2055: 2051: 2041: 2028:Trajan Title 2027: 2011: 2006:1930 to 1934 1998: 1988: 1980: 1968: 1958: 1948: 1944: 1937: 1930: 1918: 1900: 1892: 1886: 1870: 1850: 1844: 1832: 1829:Record Title 1828: 1813: 1791: 1781: 1759: 1745: 1734: 1701: 1694: 1686: 1680: 1674: 1670: 1656: 1642: 1641: 1638:1926 to 1929 1630: 1618: 1596: 1591:Walter Tracy 1587:Cooper Black 1574: 1550: 1537:Bruce Rogers 1532: 1524: 1508: 1490:Bruce Rogers 1463: 1430: 1412: 1404: 1376: 1360: 1355:Andrew Hoyem 1348: 1336: 1325:Goudy Modern 1324: 1278: 1247: 1243: 1239: 1221: 1204: 1188: 1178: 1172: 1164: 1144: 1130: 1115: 1113: 1097:Hans Holbein 1088: 1086: 1067: 1066: 1038: 1035:Goudy Italic 1034: 1020: 1006: 996: 990: 984: 972: 964: 960: 950: 924: 903: 887: 869: 837: 804: 786: 775:1911 to 1926 759: 749: 743: 735: 717: 703: 679: 638: 622: 604: 598: 590: 574: 568: 553: 519: 513: 481:Mother Goose 479: 475: 471: 463:Mother Goose 461: 439: 413: 409: 381: 374: 369: 363: 359: 345: 340:1896 to 1904 333:bold weights 328: 314: 308: 302: 299:Walter Tracy 297: 272: 262: 246:The printer 245: 236: 194: 171: 155: 143: 134:Bertha Goudy 129: 114:opus numbers 105: 103: 87: 48: 41: 40:designed by 35: 26: 6419:, V. 4, #1. 6393:festschrift 6372:"Typologia" 6211:25 February 6185:25 February 6179:Will Harris 5971:Will Harris 5799:Will Harris 5752:25 February 5725:25 February 5663:"Truesdell" 5646:11 February 5642:. Microsoft 5624:11 February 5208:15 December 5117:, V. 4, #1. 4883:11 December 4806:The Fleuron 4755:28 February 4729:25 February 4598:25 February 4545:4 September 4284:25 February 4257:25 February 3265:26 February 3240:26 February 3215:26 February 2899:Continental 2883:Goudy Swash 2865:Goudy Fancy 2617:Goudy Title 2569:Pabst Roman 2537:blackletter 2509:Continental 2439:Continental 2423:Font Bureau 2397:Continental 2366:Continental 2333:Continental 2303:blackletter 2299:Continental 2222:Continental 2192:edition of 2186:Continental 2168:Continental 2152:Continental 2142:blackletter 2138:Continental 2128:Continental 2112:Continental 2098:Continental 2080:Continental 2072:Goudy Stout 2046:Continental 2032:Continental 1991:edition of 1985:Continental 1923:Continental 1883:blackletter 1875:Continental 1845:Goudy Dutch 1764:Continental 1750:Continental 1675:Aries Press 1665:Continental 1649:Continental 1605:Continental 1597:Marlborough 1583:Continental 1559:Continental 1525:Goudy Bible 1517:Continental 1486:Jean Jannon 1470:Continental 1345:Arion Press 1333:Continental 1287:Continental 1230:Continental 1109:common line 1039:Goudy Roman 1007:Goudy Roman 937:Roman Forum 925:Forum Title 896:Continental 882:Continental 850:Continental 813:Dutch style 661:blackletter 579:Continental 558:Continental 414:Pabst Roman 311:blackletter 289:sans-serifs 71:blackletter 63:Eric Sloane 6513:Categories 6103:. Monotype 6048:1001 Fonts 5998:. Monotype 5950:4 November 5946:. Fontshop 5923:. Fontsite 5853:. Ascender 5827:. Ascender 5721:. Monotype 5669:. Monotype 5492:. Fontsite 5490:Fontspring 5464:Fontspring 5438:Fontspring 5255:FontSpring 5229:Identifont 5040:. Monotype 5003:4 November 4923:3 December 4808:: 131–179. 4619:1001 Fonts 4567:. Monotype 4438:2017-01-31 4414:2017-02-10 4358:11 January 4325:9 December 4280:. Ascender 4225:1001 Fonts 4098:5 February 4060:"Goudy 38" 3595:2016-02-05 3503:. 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