Frederic Goudy (Type Design Art Ebook)

SWASH LETTER STUDIES
PWRIN COUNTY FREE LIBRARY
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forty-six
rty when he fir^
n alphabet,
rêfore he counted himself a profes^J ^^^^ ORNATE TITLE
sional type designer,
^t by the end of his long life
Frederic Goudy
had become the most famous type designer
COPPERPLATE
the world. This eccentric
in
COTHIC^^^P^^^^
American (^ reated
more than a hundred faces, including perhaps a

02ien that rank among the be^ ever
made.
He
GOUDY TEXT SHADED
was an exasperating loner, but he used

GOUDY OLD
his cele-
STYLE ITALIC
brity to simulate Aênliven debates about type
^ typography that amounted to a kind of national

CLOISTER INITIALS
education in the
D.J, R,
BRUCKNER
^hetics oftype design.
MASTERS OF AMERICAN DESIGN
Frederic Goudy
1865-1947
Goudy was the outstanding American designer
Frederic
of typefaces, and one of the leading t\-pe makers in history.
He had
Ufetime.
huge influence
famous
America during
in
his
he was a widely read com-
figure,
mentator on design and esthetics, a popular speaker

eagerly sought after by newspapers and radio for his
printin
opinions, and eyen the subject of a Hollywood movie.
D.
R. Bruckner's biography
J.
is
wh
study of this extraordinary man,

half of his
life
drifting in the
t\'pe
designer only
hundred typefaces
iit
the
first
the Gilded Age;
drew
counted himself a professional

46; and went on to create a
at
itical
commercial margins of the
booming American Midwest of

his first alphabet at 30:
the ^
running the \
this while
illage
Press, one of the great private presses of this century.
Bruckner brings
to life the lost
printing and design as

career,
from
jvithoul
world of American
existed during Goudy's long
it
his early years in
Chicago
in the cultural
watershed of the 1890s, when the distinction between

designer, compositor,
and printer hardly
own
acquisition, at 60. of his

that enabled
him
to engrave,
existed, to his
at
is
Die,
masculi
matrix-cutting machine
and
cast,
on
his
own, some
of his greatest faces.
Bruckner
offers a searching assessment of
easi
Goudy's
achievement, analyzing his esthetics and practices,

explaining the technical aspects of his work, and exploring the characteristics of the typefaces in detail.
The
illustrations,
many
of which are printed in two col-
numerous examples of how Goudy composed
ors, give
from drawings
his faces,
to printed samples, as well as
many examples of his page designs and photographs of

Goudy and his circle. Many of Goudy's tj^jefaces have
survived and flourished in this age of computer typesetting, fueling a revival of interest in
among
Goudy's work
graphic designers, and for them, Bruckner has
appended
a critical
list
of
Goudy
faces with a
ade to display
showing
of each one.
The
central struggle of Goudy's
calls "his
life,
what Bruckner
long battle for order and clarity in the printed
one whose outcome
word,"
is
terrain
on which
it
is
As Bruckner points
is still
now fought
out, so
has shifted elsewhere.
thoroughgoing has been the
American design since World War
major force in type design
in
that the very idea that the
the
first
hilf of this century
"a thoroug
tion of the Miv
was an American, indeed,
democratic man,
ty^jical
of the genera-
'^Vst after the Civil War," will be a
revelation even to knowledgeable readers.
250
illustrations
reader.
Type mu^ be easy to
in doubt, but the
influence of European modernism, and particularly

the Ba.uhaus, on
weak; decorative, but not orand in composition; auêre

le or unintereîng regularity
pie in design, but not with the
)rnf which is mere crudity of
CiVl t V.L.V
^^p'
demands
inir\or'
isms
ma
DATE DUE
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'X
>->^*-.J.
MASTERS OF AMERICAN DESIGN
Frederic Goudy
D.J. R.Bruckner
DOCUMENTS OF AMERICAN DESIGN
HARRY
N.
ABRAMS. INC.. PUBLISHERS

NEW^ YORK
a!a
FOR DOCUMENTS OF AMERICAN DESIGN

Project Manager:
Samuel N. Antupit
Editor: Sarah Bodine
Designer: John Baxter
FOR HARRY
X.
ABRAMS.
Editor: Eric
INC.
Himmel
Graphic Production: Doris Leath Strugatz
Pages 2-3
Printer's
mark of the Village
Press,
1912
Pages 4-5
Goudy's drdicings of Kennerlex
italic
Pages 6-7
Goudy^s work sheets for designing Venezia Italic
and Hadriano
typefaces
Page 12
Press proof of Village }\o.
Library of Congress Cataloging-in-Publication Data

Bruckner. D.
F.
J.
R.
\^'.
Goudy
p.
cm.
D.
J.
R. Bruckner.
(Masters of American design)
ISBN 0-8109-1035-7
1.
Goudy. Frederic W. (Frederic William). 1865-1947.
United States History 20th century.
Histon 20th century. T>-pe designers United

United States
Printing
Printers United States Biography.
States Biography.
2.
T\-pe and type-founding
3.
4.
5.
I.
Title. II. Series.
89-18103
Z232.G68B78 1990
686.2'092dc20
CIP
[B]
Copyright 1990
Documents of American Design.
Inc.
Published in 1990 by Harry N. .\brams. Incorporated,
A Times
\11 rights
Mirror
New York
Company
No part of the
mav be reproduced without
reser\pd.
contents of this l)ook
written pi'rniis~ii)n ol the
the
piilili>lu-r
Printed and bound in Japan
K î
?*^rf^
CONTENT,
4
AND
ACKNOWLEDGMENTS
PREFACE
13
INTRODUCTION
15
CHAPTER ONE
ONE MASTERWORK
18
CHAPTER
TWO
GOUDY APOSTOLIC
27
CHAPTER THREE
THE
LIFE
AND TIMES OF F. W.G.

41
CHAPTER FOUR
GOUDY OUT OF TYPE

74
CHAPTER
FI\'E
THE ARTISTIC FRIENDLINESS

OF MACHINES
88
CHAPTER
NINE FACES.
SIX
MANY FAMILIES
97
CHAPTER SEVEN
RETROSPECTIVE:
WAS HE OR WASNT HE^^
112
CHAPTER EIGHT
THE WHOLE WORKS

117
NOTES
141
INDEX
142
DOCUMENTS OF
AMERICAN DESIGN
144
CREDITS
144
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AND
ACKNOWLEDGMENTS
PREFACE
Among
people in design there
is
an impression that a vast amount
of this century deserves long and careful studv.
Goudy and his work is available. That

is a tribute to the overwhelming impression he made on type design
during his life, a kind of lingering memory. In fact, in the more than
Obviouslv. the separation technologv and fashion have set up
of information about Frederic
fortv vears since he died verv
little
between
minology
in the late
1940s and
and ours means there are some problems
in writing
in ter-
about Goudy. Designers now have a vocabularv
unknown to Goudv"s contemporaries, and he and his colleagues

used some words in ways that are strange to us. In this book I have
has been written about him.
There were a few small books of tributes
that time
"50s.
books on types has shrunk continuously, and there have been no
make clear with descriptions what their terminologv meant.

This requires a little attention, but not so much that anyone should
books about him.
be distracted from the story or the argument here.
In the past twentv-five vears the portion devoted to
There are many reasons for

tify
it.
The
principal one
this neglect, but
simplv
is
that,
him
in general
none of them
tried to
There
jus-
from the "50s on, printing
modern
an amusing irony
is
in
one aspect of this book.
version of a Bodoni tvpeface.
set in
It is
Goudv despised Bodoni's
changed completely. Goudy designed entirely for hot type printing.
types and might have been indignant at being dressed
He had no objections to the many kinds of offset being developed at
them. But the books of the Documents of American Design series
the
end of his life;
in fact he said designers
entire esthetic of type design
nant.
when
would have
those methods
share a look, and the
to rethink the
became domi-
The development of new technologies has been
ther twist
the notion
so rapid that,
But
unfortunately, that rethinking has never been done. In any case,

writers about design have been so involved with the
new methods
meant
design was
be a
at the
first
step.
Baxter,
new
work
in
in
when Goudv set
out
anvone would modifv them was anathema
a profession of that work.
The
designer: and Kenneth
fur-
to him.
at
the
^ indsor,
he
moved
it
who was
a designer
to Israel several years
was stimulating, and
when conscience would
their
not.
The collections of four libraries were absolutely necessarv in the

preparation of the book, and special thanks are owed them:
\^
illiam
was virtually alone
Matheson, chief of the Rare Book and Special Collections Division,
com-
Library of Congress. \^"ashington, D.C.. with special thanks to Peter
distinction between
and printers and designers was very blurred. And no one
van
^ ingen.
Robert R. Shields, and Clark Evans; Francis 0. Matt-
made a living as a designer of type. The big foundries had employees who designed many faces, usually by simply making small
son, curator of rare books,
changes in someone
Collection.
else's
initil
patience often worked as a prod
the very
and Goudy's friend Bruce Rogers, w hose

since,
its
ago. Their interest was as delightful as
make a profession of book designing was
book design has not been equaled
making
positors
in this country,
Bodoni was notoriouslv possessive of his designs:
deeply involved in the project
have tried to indicate how different
turn of the century
notion that someone could

quite
of them.
Chief thanks go to Sarah Bodine. the editor of the book: John
time to redirect attention not onlv to Goudv but to the world
to
all
older master's discomfort.
of extraordinary people in design that surrounded him. This book

is
be used for
one of
computer-generated type makes significant changes, and
this
are the poorer for that neglect.

It is
tliat
will
in
Goudy. ahvays good humored, might have been delighted
that they have all but ignored the previous generations of designers.
We
that
is
same type
up
staff:
work, but thev were largelv printers or
The New York Public
Library,
and
his
David Pankow. curator of the Melbert B. Gary Graphic Arts
The Rochester
Institute of Technologv.
New
'ôrk.
and
who did their design \sork on the side.

The era w hen Goudy came into printing and design was a much
more turbulent one than now in terms of ideas. The manv magazines
his staff:
devoted to the printing trades in the
seph Blumenthal. Horace Hart. Steven Heller. Andrew Hovem,
mechanical people
century and the

troversy and
first
last
esthetics
full
Tlie
lie.
wild growth of a rich school of American design in the earlv decades
New York
his staff.
Herbert Johnson, Alexander Lawson. Abe Lerner, Dr. Robert Les-
of con-
and principles of design.
and
librarian. Tlie Grolier Club.
Among the individuals to whom special gratitude is due are Jo-
decade of the nineteenth
decade of this one are verv exciting,
wonder about
City,
and Robert Nikirk.
A. Provan, Sidney Shiff, and Dietmar
\^'inkler.
D.
13
J.
R. Bruckner
.t1
FREDERIC GOUDY
During the
last twenty-five
of his hfe.
F.
\^.
Goudv was
famous man. He was
was from most of
years
how
popular
and he knew verv well
in design,
to use his eccentricitv to his
speaker who
advantage.
traveled across
was
the coimtry. and
ly
the Atlantic,
man.
vear after vear
the generation
giving talks to
of the Middle
students, busi-
Xêst after the
nessmen, clubs
Civil \âr.
almost any-
in his long battle
one who would
for order
listen.
His books
home became
grimage for
and
and
the
printers,
a place of pil-
coinpositors. mechanics, and the
He was
general public in a wav few of his
his followers.
contemporaries did.
network radio: a Hollywood
pect of his personality, in fact,
stu-
him and
dio
made
his
work: he was a regular pres-
a film about
that
not
just those
addressed
and advertising but
in
and
him now. He was
certainlv over-
praised by his admirers while he
Sunday sup-
was
ness that
made
manv
the Bodleian Library, Oxford,
faces.
And
June
apprehensions about him. the oddest
attached to
titudes persist. Joseph
tvpe-
thal. the printer,
Blumen-
who has
written
a valuable histon" of printed books,

says. "He
being that he was a formida-
bly serious presence. That would
He
those
there are strange mis-
have amused Goudy.
to justify.
about him. except that his

is
hard to understand
who remember
him
bv now all are people who
came to know him only after he
was famous
some of the old at-
know
name
is
Among
Fortv vears after his death even
little
bv opponents with a harsh-
and impossible
much monev. but he did have fame.

people in the world of print
but he has been be-
alive,
even The y<ew Yorker and Popunever
that continues to in-
remarks about
littled
He
that as-
spire derogatory
plements, national news magazines,
lar Mechanics.
It is
drew criticism of him during
his life
to people in printing, publishing,
1929
in
of
talked about and interviewed on
zines
21,
t^-pical
down to
carried the fight
ence in newspapers and maga-
at the entrance to
democratic
printed word he
the alphabet had wide influence.
His
He
a thorough-
clarity
on lettering and
Goudy
his colleagues
was a great self-promoter
and he was
a lot of fun to be with.
But he was not the great printer
%vas a
do not think
great raconteur with a large rep-
or typographer, and
ertory of funny stories, and he
he was even the greatest Ameri-
He was
can designer of type. \ou would
enjoyed jokes on himself.

keenlv aware of
how
different he
not put
13
him with Daniel Berkeley
""^^"^"
BU
INTRODUCTION
Rogers designed the best Ameri-
He deser\ es honor for that,

as much as for his types. He loyed
to be honored, too. \^liy not? He
can ivpe. Centaur."' But Bhimen-
deseryes that."
Updike
in printing or
Bruce Ro-
And
gers in typography.
thal has also pointed out that
was the one person
who had
printing
in the
think
world of
a great reputa-
presi-
dent of the Lanston Monotype
"Goudy was
American type
surely the great
who has few
designer and one
equals anywhere, eyer.
how many
am
don t kno\\
made and 1
matters. He de-
types he
not sure that
who made
when serious
actor
an age
his start at
people in professions ought to be
He offended
already established.
Horace Hart, onetime
say> that
Goudy was an
Goudy
tion outside that world.
Company.
dignity.
the snobbish
among
by
his peers
seeking the reward they would never
accept
applause.
his popularity to
But he used
change the per-
ceptions of his audience and

it
make
more discriminating. His

good design was
for
subyersiye.
One
zeal
infectious, if
of the legacies of
signed eight or ten or eyen a dozen
John Ruskin and
that are classics, ^^lio else in the
Herbert Johnson of the Roch-
who in the nineteenth century ha(

started the movement that gave
rise to the whole modern notion
Technology
of design, was the idea that good
whose knowledge of
design was the possession of the
histors"
of type has done that?"
ester Institute of
(R.I.T.),
Gou(ly"s
work
"Goudy was
is
unequaled, says,
just too
democratic
guys who were
for those Eastern
already setting themsehes
an establishment
much
as
Morris,
1
few who know, and from them

should be passed down
masses.
to
it
the
By the time Goudy began
designing,
it
was thought the
stan-
in this business
dards could come only from dedi-
He had
them." And
cated scholars and were to be seen
when Goudy came

too
up
\^ illiam
along.
fun for
Alexander Lawson. also of R.I.T..

thinks "Goudy's strength was the
strength of his personality.
He
in the best
work of private presses
or a few uniyersity presses.
Goudy was about

cal as the
as theoreti-
metal he worked
in.
But
understood where the people of
he understood the crowd and
the country were moving, deep
wanted the crowd to know. He
down some
not pretend to talk
his
place,
campaign
one.
He
for ideas a personal
achieyed a
people responded
ally.
and he made
That
criticism.
is
to
lot
because
him person-
also the source of the
Goudy was a yery^ strong
what he never tried
dii
much about
to do.
But he
loyed to talk about craftsmanship
and
standards, and hi- tradi-
its
fifteen.
was a cowbov. and
for the
Instinctiyely he
than anyone could
longer
remember
(he
talks
and
about type and design and founded
dene that was
American heart-
younger than Goudy yet lived until
great masters of t}"pe design of
1987), thought Goudy's strengths
the fifteenth
and weaknesses were both exag-
ries as
gerated but said, "He inspired print-
colleagues, not as unapproachable
people no one paid

tion to,
a lot of
much
atten-
and he gave them some
and he tended
to treat the
and sixteenth centu-
honored and
intelligent
ran his
lage Press, ôr
own
pre--, the \
more than
a journal of type design that
is
il-
tliiit\-
of
great historical importance in the
history of American design.

as
And.
Herbert Johnson said, he had a
lot
of fun doing
It is
it all.
an irony of histoi\
that
American students of design
figures in a pantheon.
He
a microscope
were the old
land,
and compositors and
in
under
porch of the old mill at Deep-
was only about twenty years
ers
two largest foundries
his matrix cutter grinder
He wrote books and pamphlets
his writing
populist en' of the
He designed scores of t\"pes
Above, top: Goudv examining
own mark. Hi-
right to
his
for
Above, bottom: Goudy on the
heart and soul of the Typophiles
make
own foundry
the rountrv as well as for his own.
he thought every person had a
New York
years and his
ing was extraordinarily effective.
indiyidual." Dr. Robert Leslie, the
organization in
five
dav
-li()\ilil
(ioudv.
16]
know
to-
-o Httle ahout
The dominant influences
his
shop
Opposite: Goudv's hands draw-
ing letters
FREDERIC GOUDY
now
are European, although in
type design
it
is
allowable to bow
The
to the British occasionally.

ver\-
word modern
in design
associated in most peoples
is
minds
Walter Gropius the head of that

school, which
the Bauhaus.
became known
tic to
intellectual father of the
as
from Germany
by the Nazis, came to
this
Bauhaus
group, Peter Behrens, w hose ideas
WTien Gropius and
his school, ejected
them. Goudv did know the
inspired
them
all
and who had an
country
immense influence on German de-
with the triumph here of the
in the 1930s, very
few people out-
sign, including typography, in the
Bauhaus influence after ^ brld
side architecture
knew who thev
early years of this centur) Behrens's
II.
In the year
own
Goudy
set
^ ar
up
his
private press, in fact, the
were, and vet thev were to have

the
most profound
effect
approach was
to
assume control
over evervthing. from architecture
on our
Wlien Goudv saw the work of

Behrens and of the Bauhaus
Germany
it
in
largely as
in
1925, he passed over
something
a bit alien
to us.
Now
it is
he who
is
may not
important to know that
But he should not be.

be terribly
it
a bit alien.
It
was an American, not Europe-
who dominated
Bauhaus began. In 1902. the Duke
entire notion of design, including
to
of Sachsen-êimar-Eisenach in-
printing.
household goods to typefaces. The
for a long period in this century.
in
designed world was to
But
of
thought of a single intellect, whether
vited H.
\an de \elde.
who had become an
a painter
architect, to
establish a school at
Weimar.
was Van de Velde w ho
later
It
made
The postwar revolution

design, which has made people
the
Goudv generation
to us,
so remote
would have seemed
the design of
that
machines and
was the mind of one man or
of a group with ideas in
fantas-
17
reflect the
common.
ans,
it is
important to know about
the history of
and
type design
American design,
in that history
large figure.
Goudy
is
CHAPTER ONE
many typefaces drawn from so many sources
cepting those types modeled on
of
fraktur. or Gothic, forms, all of
Goudy designed
that
it
is
so
difficult to tease out
might have reversed the order. Ex-
them character-
Goudv's faces
that are
reflected a pre-
Gou-
dilection for the
istics
distinctly
ONE
MASTER
dyesque. In a
sense the variety
a tribute
is
to his imaginat
an d h
on
studies.
But
earliest t^pes, es-
pecially those of
Jenson. and a
conviction that
WORK
Rdinaii inscriptional letters are
in
most of Goudy "s
the finest.
types one finds
all
traits that iden-
liest
tify their
Taken
age.
but the eardeliberately
reveal
parent-
as a whole, his fonts
And
thing of their manufacture;
someGoudv
have a rougher appearance than
wanted them
most made
sprung from the materials and the
in this centurv: the
letters lack the
high finish of
to
appear to have
used and not to imitate
tools he
machine-tooled products. That
characteristics of older methods.
was deliberate. Goudv meant
Different designers and print-
effect
the letters to betray their origins

in several ways. First, he
wanted
them
to reflect the original draw-
ings,
which w ere always done free-
hand and always showed

larities.
In virtuallv
he also wanted the
all
irregu-
his types
letters to
have
ers have their
own favorites among
Goudy types. Some great ones

have definitely favored Goudv
Modern, Goudy Newstyle, and
the
Old
Italian
Stvle.
Goudy
teristics of
and has the most
shape of strokes
pearance
the formal
writing done with an edged pen

that
marked
the
work of the mas-
ter scribes of the Renaissance,
from
whom the early type designers took

their models.
as his
great
He could
have taken
motto the nouns that the
modern
calligrapher
think the type
that brings together
a calligraphic quality, the distinct

in
is
most charac-
types the best

distinctive ap-
Deepdene.
exciting or singular as
ers,
but
it
part of
l)v
essential
is
its
It is
not as
some
oth-
Goudv. Everv"
production was done
his hands,
and
a study of
it
will
teach the eye what to look for in

his other types.
Goudy himself tended
Edward
to talk
Johnston of the Royal College of
about designs in more philosophi-
Art cited as the origins of "excel-
cal terms,
lence and beautv" in formal writ-
in the
and remarks he made
1930s about the originality
"'sharpness, unity,
of designs and the intellectual qual-
and freedom"
although Goudv
itv
ten letters
IH]
of
all
design bear on judg-
Opposite: Original drawings
of Deepdene roman lower case

letters
Overleaf: "Deepdene:
A New
Type" broadside printed

Deepdene. 1927
at
ÂM^^<
'
.">
DEEPDENE A NEW TY
DETAIL BY THE DESIGI
FIRST OFFERED TO PRl
:
ETTER-Cutting is
the Artificers of
it,
Hanc
that
other But every one that

;
Inchnation. Therefore, th
the general Practice of
here
For, indeed, by
cious Eye may doubt whether they go b

in
no Practice w^hatever, ought to be m
ABOUT OLD-TIME TYPES

HE
excerpt above
little
or
is
from the writing
no previous type-founding
ex]
previous experience in any shop, or tutelag

M
PRODUCED IN EVERY
OF THE FACE NOW

TERS SEPT^ MCMXXVII
IR
'
'
vVork hitherto kept fo conceard among
mot learn anyone

IS
ufed
it,
Learnt
h I cannot
it
hath taught
of his
it
to any
own Genuine
[as in other trades} defcnbe
-men, yet the Rules I follow I fhall fhew
appearance of fome Work done, a juditiy

'
Rule at all, though Geometrick Rules,
nicelv or exactly obferved than in this.
MR. GOUDY'S
a
NEW TYPE
type-founder vv^ho began operations with
ence. Frederic
ider
W. Goudy, likewise without
any master,"of
his
own genuine inclina-
CHAPTER ONE
A page from
Beloic:
di scientia
Trattato
d"arme by Camillo
Agrippa. printed by Antonio
Blado
ments about
all
in
Rome
or"modern" classifications the old
of his work:
am
/ really do believe that I
tvpe manuals refer
to.
PARTE
In general
xxxirr
those terms refer to the verv earlv
anco frojitctiole,^ auantaîojo ilfroceicre
letters for types
tvpes on the one hand and those
Tlro.ônenioji con cûeUo tnnanzi.tn
as things artistic as well as use-
following Bodoni and Didot on
ful, rather than to construct them
the other.
as a machine might, uithuut
old >tvle should be angular and
the first (in this country, at least

to
attempt to draw
gard for any
re-
esthetic considera-
tions. I think I
must early hare
developed the idea that txpe
to
he successful must create an ex-
Goudy
UJe{uentcj\ûra,on(icJe(onio
himself said that
modern, round and
<ûaii a tal
above the center
of the letter as
modern did
hattejjc -VMO co'
Jero amendo\
not.
detta
and old stvle had wedged and brack-
another face of similar charac-
eted serifs, while those of modern
and
come
have
this difference I
not
"originaT' type design
be-
Those are not very
in
Cuardia
doft Qtujlo
tnyarte,^ (on
(amija,el dctto
di
Vrma,(o'
\/erfo lut in
j\o ancorajojje arriuato
fiejirtijiro
difference in outline, or even must
not unuseful.
exhibit a different set of propor-
student of tvpe will find
ft
pared with otherforms of the same
cording to anv of the proposed
lution
feel
international standards.
The one
most widely used,
invented
first
the evo-
bv Maximilian Vox in France
in
of any God-given genius.
1954 and since modified, has
ei-
and
ther nine or twelve categories (the
intellectual in
"lineale." or sans serif, classification
I like to reason things out
my work
is
that sense.'
Deepdene does
rcbhe,
m dctta Terza
iljuojfufr.alc,(io e de
eral,
it
/'
vrohibitover
is
free
the axis of the curves, the slant of
from the overemphasis on
scribal
Two years before he cut

Deepdene, Goudy had a matrixengraving machine made for himself and,
once he mastered
the cross stroke
and the shapes of the
\ox
list.
Didone
(a
serifs.
is
virtuallv the old
modern
he appears to have achieved
tlie
dream of Aldus: Deepdene, at least,

leaves the impression
it
was
writ-
ten directly in metal by fiery fingers.
Deepdene does not
written rather than drawn).

\
in several of his categories,
pajjata -vtaje luijaltajje wdietro

coti
laputita
iti
di'
tm^
Quarta
lutiâ.
and
Above and opposite: Deepdene
one could distribute letters of Deep-
dene into
half a
dozen of them.
lower case
Goudy's day. Certainly
drawing
entirely within the "old style"
ox suggested placing certain t^-pes
ing on this design he was also
fit
fararexjjcndo
Even
the standard categories in use in
does not
suggesting their sources were
At the time Goudy was work-
it
aUuanto
and graphic (characters
within
fall
Vrima.co
changed. But there are also such
script,
Goudy's hand. In some
il
di
un-
became freer. They appear to spring
reveal
Quardia
pounded from Didot and Bodoni)
(chiseled rather than calligraphic),
still
dctta
word com-
types changed. In general they
from the metal, but thev
tic la
cheje fure occorreffea
In
categories as slab serif, glyphic
directly
\l
on the lower case
his
it.
laperfona
divides the old style into
calligraphic qualities but
lier faces.
tie
ranottifia dette,accowf>a9ttatido lafpada dclnc
larâ,
characteristics as the incline of
the
ammo di tra
mafciormente ancofi dijcovru
proccata dcjlra
has
e,
le
lojefuitarcbbe
It
his ear-
d lattto,(be Que-'
col ftcjittjiro ttittatizi jtolfcrcbbc
mico ittfore
impression in the mass.
marks
Tet"
,Jfwêrei>he di Secon^
dctitro lajfiallajitiislra^jolamctttefcrjchijar
three classes according to such
written letters that
in
auerjanojoue \olcndo alzar^
ojjcrircbhcjial colpo
mcTlaua C altro
(jiiirement of creating a distinct
characteristics or the shapes of
C^crfOyrurouandofi i>cr cajo
four distinct parts). In gen-
lias
satisfy the re-
itijino
larunta con dctto pf^ttak.^fr mondarlajore con
even
it
harder to classify Deepdene ac-
ofpertinacity rather than
mnanzi,perchejcrma
rafjar -vcrjo lui,\ci cbhc daje djirmarji lajpcda
The present-day
uhen com-
types. ..are largely the result
Quârta ordmaria larva, (olvie dfjlro
la Quale ne Cavfirojimarfi,tonto
number
cotra
what most people under-
stood by the terms and they are
of
nemuoje h jtrejentaffe
scriptions, but thev accuratelv
sent some actual and demonstrable
rather large
condmom pujlijiy
innamtjnhito îuntOyli andarcbbe UKOtitroJirmandoft
daforra
le
nemt(o,<ûa}tfojJe difiariforza, ctjintrouaf^
scientific de-
reflect
letters
come nt
tvpes were thin and unbracketed.
lieving that each letter must pre-
tional measurements
fiarer mio.ct per Jeractom,le
zajlrcttaêt non moucndoji I aucrjario
consider the essence of
to
Vrma Guardta
cate.et fiecccjjcricychc dijottoji diratino.ma tionfi<i,<ûartdo (c^
noted that the old style t^'pes tended

to stress curves
il
coJ iettofiejini
fropojito pudtco ejjcr mt^horijtco chcjtmthjortiii
Cuariicjtotino acccttarji
He
precise.
pression in mass not possessed by
ter:
1553
in
five
other faces.
He
said
he took a suggestion "for one ^f
22
letters
ONE MASTERWORK
Below: Goudy's favorite broadside.
"The Tvpe Speaks." print-
ed
Deepdene
in
italic for a
1933
exhibition in Chicago
AM TYPE
rchcs
Ofmy earliest ancestry neulier hstory }ior
'
remam. Tlu' Ut jgc-sKapt J
rLj5tk" clay
hy
anaent g\pnui5. Joini

of the mediaeval scnhes.
titi:
uas
manuscnp
his friend
Paul Bennett later
identified as \ an
\^ alter
t)"pe,
has
obviously a freehand face, and
Goudvs
characteristic rounding
has disappeared from most of the
many years head
other lower case letters, especially
Tracy, for
made
which
Krimpens Lutetia.
of the British Monotvpe
the liurogKplis of the
hcautiful
invaluable
m and n. and note the vertical
Company,
the
comments
shank of the
The
h.
axis of the
letters
on seventeen of Goudvs t^pes
in
curves throughout this face
close
is
in the malving.
He
to the vertical. Tliat emphasis, along
takes the reference to"one of them"
with the deep color of the face,
Deepdene. But Goudy was
gives it a sturdiness some of Goudy's
book
his
of the ingenious Qutenherg.
ynnciyle of casting
me in
who
metal.the profound
to be
Letters
Credit.
of
ofynnting uith movahle tyyes uas horn. Cold. ripd,and
so vague about which of the de-
earher tv"pes lacked.
nuiy hc,yet tlufrst impress of my face hrought
signs he referred to that identify-
not threaten to roll off the page,
ing Lutetia as his model
but
imylacahle
the
tlu-goUt-ji vision
first avylied tlxe
art
to
m the dvu ^'ast.forc-
Bahylcman huiUers
shadoued me: from them, on through
Witli
svniKiIs impn-sit-ii
Dutch
them" from
Dnine Word
I
to countless
thousands.
hring into the light of day the yreaous stores oflqiou-l-
edae and uisdomlong hidden in theâve ofignorance.
for you the enchanting

the yoets yhantasies;
tale,
I
tremely risky. As Tracy himself
coin
hooh
the yhilosoyher's moralizing, and
all the
stant,
its
progress through ihe world, stamped
and preserved for
eternity.
Through
Chaucer and
the Bards, hecome
THIS KEEPSAKE HAS BEEN PRINTED AT
A.N
tXHlBI-
riON SPONSORED BY THE AMERICAN INSTITITE
OFGRAPHIC ARTS.
IKIHJSTRY.OCT
IN
THE MISELM OF SCIENCE
25TONOV
I9,
&
1^33.70 HONOR
one cannot make a statement that
The lower
roman
a.
for instance, has
manna of
come from anv number of sources,
the small bowl
and roundness of
mind
including other originals that both
fif teenth-centun"
men had
slightly stressed left.
m an in-
in
mind
drawing their
me. Socrates and
your faithful friends
re-
%vhen thev were

Lutetia
letters.
much more
is
regular
appearance than Deepdene and
of such lighter color that

takes
W Goudy
ately set out to violate

is
ARNOLD VBLrACHDFBOM JAP.\N PAPERCO
it.
and
that
imperial
capitals recall
Roman inscriptions more
directly than they
do any of the
Renaissance or later interpretations of those inscriptions,
faces. Tlie e looks
The
legs of
both lower and upper
cases terminate in serifs but have
And
the curve ot the pen.
waist of the
\^ illiam
is at
an odd height.
Ed%nn Rudge. the great
wanted
printer,
dene
the
as his
Deep-
to acquire
own dedicated
t)"pe.
and
of
it
and used the
Letters
from
T.
italic for his
Shaw. Goudy
E.
never described Deepdene as one

of his favorites and
appear to be a
it
would hardlv
t\"pe easilv
handled
the lower case letters have the kind
by compositors and printers, but
of sturdiness one expects to find
printers have long
onlv in uncials. Deepdene roman
it.
has a marked ruggedness. a sim-
w as to design
plicity
and directness
off from
that set
it
European antecedents
in
ways not apparent

It is
a verv
at first glances.
American
creation.
The rugged appearance comes

in part
from Goudv"s stress on the
The Deepdene roman
vertical.
been
partial to
Indeed, through the ^ ears Goudv

five
more Deepdene
faces, in addition to the italic, to
meet
printers'
demands
Deep-
dene Open Text. Deepdene Text.
Deepdene Medium. Deepdene

Bold, and
At
first
among
Deepdene Bold
might expect from Goudy
ily
the
make
these faces might
one question giving them
Italic.
glance the differences
vowels are quite round, as one
name, but
in fact there
famis
among them
bowls of the b and d could hardly
closer relationship
have been dra^^n by the older
than between any of them and
designers
and
In fact.
the o
mav be the
made to that time.

Deepdene altogether is
roundest he had
{23
r in
all letters.
Bruce Rogers was an ardent admirer
very unlikely.
The Deepdene
N Y
k and
be a model one would
to
it
one
if
have to conclude Goudy deliber-
THE WORK Of THE VILLAGE PRESS [ I9O3- 53}

SETIN DtLPDENE ITALICS. DESIGNED. ENGRAVED
G PRINTED BY HAND OS
.ANI> COMPOSED BY F
I
case
am Tyye
Frederic
But. as alwavs with this face,
lated, but that relationship could
in
marches rather than glides.
it
hold for
w\w ever surround and minister toyou. I am the leaden army

that conauers the world;
ment:
similar-
few of the capitals might be
altogether so
Plato,
does have a sense of move-
it
will
theyast. In hooks. I yresenttoyou a yortion ofthe eternal
caught in
little
\an Krimpen's design.
ity to
enahlc you to exchange the irksome
golden urns filed uith
Deepdene has
says,
hours that come, at times.to every one, for siveet and kippy
hours uith
ex-
is
Deepdene does
anv other Goudv tvpe.

Lnderstandablv. Goudv expressed an annoyance with print-
CHAPTER ONE
CDGQ
The
ers for wanting a bold face of this

t\"pe.
it
is far
color
book
face,
and yet
it
is
his treatment
amusing
reminds one inevitably of a designer he did not
a bold face
a mvster\.
is
capital
Goudv
thought the need came from the
^fghljkl
right.
and he may have been
But their desire led him to
devising the Bold

quite unusual.
Italic,
It is
mnopq
Deepdene
wholly new.
It
teristics that
but
letters.
Deepdene reman
to notice
rstuv
some
face
tail
on the
Goudy
vintage
Goudy seems
on the
from C. The
variance in width of the capitals

-hriuld
capital
make them
it
comes from
Goudv
that the
much? (A
in
doesnt. The
is
square, but
the serifs.
How
is
lot
splayed, but not
of that impression
letters
it
Deepdene upper case
Top:
letters
Left
and
opposite:
loner case
Deepdene
letters
Above: Goudv at his drauing

table
stands
to.)
The
case
prnblpm
get the suggestion
depends on which
next
especially interest-
is
The impression
ing.
does.
v^xyz
is
italic is striking.
for
all
The lower
practical purposes
entirely upright: like the first
other
ics,
as well as classic faces.
hut
in the
compared with those of Goudy's

t^^pes,
to have taken spe-
mation of capital
charac-
can be usefully
tail
small capital tout). In this face
that
is
somehow gets light-
ness into these weighty
one ought
Italic
is
composition, but
not a deeper
version of
In the
which
The
cial delight in illustrating the for-
desire to shock rather than invite

readers,
compare the
admire
Bodoni). \^Tiy the printers needeil
Goudy. The
for
flat
to notice
an attenuation of a few stems that
have the
throughout are unusualh
serifs
of stems and hairlines on the whole
(although
signatures in hi? later tvpes.
from monochrome. The
comes from
and
high arches one thinks of as Goudv
Deepdene has an unusually
rich color for a
CD.
capital
it i~
ital-
reallv a separate face alto-
{24}
L'T.
r*j"
ONE MASTERWORK
M TN
M
But
gether.
foot
porate
case d
most
same pen quality
as that
of old
in the lower case d italic.

ic
The
roman lower
serif of the
gives the
really?
is it
The
the
ital-
lower case g looks like the roman
its tail.
The
verv intriguing. The
none of them seems to be influenced
Roman
inscriptions than
P seems
capitals, especially in the
is
and
T, that give a
page
but a close comparison of
seeming decorative.
italic
or Blado will
with
tell
one
roman and
There are very
Goudvs claim
irritating charac-
Deepdene
upward pen stroke on

of the h
the
is
annoying
same quirk
n. Yet
when
ers in
is
italic.
the
in a
not in the
The
fluence on
one
m and
is
that his
work was
The more one plays
fonts
to have
How
it.
any
in-
could he draw
characters in these two
87
roman, 77
italic,
17
small capitals, and 27 swash characters
while
he was drawing
hundreds of others of very
differ-
ent feeling and keep himself some-
saner
In the end the great pleasure

of
Deepdene
the page.
is its
By now
look ageless.
It
appearance on
it
has begun to
makes
page that
more
has unusual brilliance without
likely to respect the intelli-
looking flashy and one that has
around with
that
208
the
w hat
italic, in fact, justifies
intellectual.
shank
way
set in the
bv Deepdene or
That kind of effect in Deepdene,
a great deal about Goudy's eye.
teristics in
M, N,
and grace without
face a lightness
Aldine
be bow-
But there are wonderfully
lot to the earliest italics, as well,

it
to
uninhibited pen strokes in these
owes a
italic
The P suggests more
italics.
roman capital in this face, except
ing.
relation-
ships between these two faces
he was working on six faces, and
that the italic
g squashed, even to the point of
opening up
more roman shapes than
gence of
its
this type, the
maker.
soliditv without denseness.
drew Hovem, who chose
An-
words thev come perfectlv
Goudv should have kept a journal. We know next to nothing about
beautiful Arion Press edition of
together and their oddities add to
his day-to-day progress on any given
the United States Constitution in
the fluidity
these letters join oth-
and gracefulness of
the appearance of
words in a type
except
for Kennerley
Old
1987, said of
Style very early in his career
and
the time.
face
that clearlv suggests the writing
California Old Style very late. At
of a scribe using a reed pen.
the time he was
Deepdene
ings for
italic capitals incor-
making
the draw-
Deepdene roman and
25
'. \
italic
can,
and
nity. It
It is
It
it:
is
for his
it
"Deepdene
is
of
distinctly
Ameri-
and
has dig-
classical,
it
does not look decorative.
noble."^
A corresponds to the first symbol in the Phoenici an

alphabet, where
it
represented not a vowel, but a
breathing, the vowels not being represented at
all.
Thisbreathing not being necessary in theGreeklanguage.the Greeks, who adopted the Phoenician alphabet, used It to represent a vowel.
AA
-V
CHAPTER TWO
Goud^
^^
as a
acute and prolific student of type
good salesman. ^Tien-
who
he issued a brochure appealing to
Goudv"s claims, said Goudy led
objected bitterly to
in the
the
his customers.
Lnited States to
He founded two
a discussion of
vertise his ideas
about
GOUDY
the principles of
APOS-
and t^-pe design,
taste.
good lettering
and he ackno\\ 1-
One. Ars Typo-
TOLIC
graphica. he
edged the
macy
started w ith the
clear intention
not only of edu-
pri-
of Goudy's
1918 book.
r/?6
Alpha bet, as the
cating printers
best instructor
but also of per-
available in
its
suading them to buy his types.
time in the L nited States.
He had to make a living.

Some academic critics
indeed a noble work and one that
It
is
in de-
designers and students should be
and some practitioners, are
required to know, especially the
repelled by that aspect of Goudys
chapter titled "The Qualities of
apostolic career as a teacher
Lettering."
sign,
drawings of the
way
the good taste of
journals to ad-
Left: Goudy's
some of
ever he started a new enterprise
w hich
is
a large part of his con-
In that
book Goudy allowed
principal forms of the letter A,
ception of himself, êll. even the
onlv a few pages to a survev of the
from The Alphabet
best teachers
sometimes have mixed
historv of letters and a descrip-
Above: Goudy's illustration of
motives. Actuallv.
Goudys
tion of letters in general before he
of roman capiafter drawings by Albrecht
forth-
the construction
rightness about the connection be-
tals
tween
DUrer. from
The Alphabet and
Elements of Lettering
he
his principles
made
his living
and the way
is
admirable.
announced
that his
fered from,
if
ow n ideas
dif-
thev did not en-
tirely contradict, those of Leonardo
For more than thirtv vears he w as
da \
the most listened to and widely
Torv. Joseph
read public spokesman about es-
ber of lesser authorities of the
thetics in tvpe design
and
letter-
inci,
Albrecht Diirer. Geoffroy
Moxon. and
num-
Renaissance and the seventeenth
ing.
He was
nal,
about his efforts to improve
of Lucas de Burgo. whose 1494
taste
by making people tliink about
book on mathematical proportion
serious, if not origi-
historv of the design of
tlie
ters,
let-
as well as about the stan-
centurv,
and especiallv from those
irtuallv dictated the notions those
and other
men had
about
letter
dards that should prevail in new
designs for several centuries. At
designs and the qualities that give
the time, the authority best
letters strength
and beauty,
indi-
to readers of
English was Moxon,
whose book on
vidually and in a line.^
Even Stanley Morison, the most
known
letters
and
t^-pes
was published just three centu-
{27}
summ
CHAPTER TWO
ries ago. In his
1940 book, Typo-
logia,
Goudy expressed
tempt
for
real con-
Moxon's sloppy vocabu-
lary about t\'pe. In
"were originally invented and con-
made and
consist
of
at
Renaissance thinkers.
tial
Goudy's tastes w-ere w^holly

ditional, but he
Moxon said of letters that they
aim was
Leonardo and many other influen-
The Alphabet
he had written:
trived to be
on, but surely his
tra-
was trying to push
people into different approaches
Ransom,
to the traditional. Will
one of Goudy 's early partners, put
more
Goudy
of circles, and straigh t
it
therefore those letters
Noting, in his introduction to the
that have these figures entire, or
catalogue of the American Insti-
else properly mixt, so as the prog-
tute of Graphic Arts'
circles, arcs
lines;
and
the
of
ress
may
pen may
deserve the
best admit,
name of
true
But these selfsame curves,

ofcircles, straight
lines, also
letter forms that
we do
arcs
make
is it
Press, that
retro-
work of the Village
Goudy s beginnings \vere
design for advertising,"
",
possible to entertain the
and
Ransom
wrote:
To the profession
not al-
ways consider to be of "true shape

nor
spective of the
1933
did.
in "the profession of lettering
shape."
up
clearly than
bl\. art)
pulse
to
or.
prefera-
he brought a fresh im-
work radical changes
in
no
the
methods of type design
equally composed of these very
less
than the idea that letters should
elements, will necessarily submit
be drawn, produced in
opinion that all
to
letters,
although
analvsis or be reducible to set
offormation that will make
bv coordination of eye
freedom
and hand
easier the creation of new forms.
and taste, rather than constructed

bv rule and line. That freedom is
Such an analysis can, at
common
rules
best,
and permit the reproducof the same form at another
practice nowadays, but
was an innovation then, a
revo-
only fix
it
tion
lutionary injection ofpersonal in-
time:
of
and even
life
terpretation into establishedforms.
then the quality
and freedom
nal will be in large part

the reproduction.
Where earlier type designers usual-
in the origi-
ly followed the practice
lost in
lating written letters or previous
The mere blend-
ing together of geometrical
of trans-
typefaces, he proposed the theo-
ele-
ments common
to all letter forms,
rem o/intentional design in
good or bad,
not enough:
construction
shape"
is
is
''true
and proved
letter
it.
Goudy 's rejection of geometrical
something more subtle
than geometry.
rules
He mav have been hitting Mox-
was a denial of the practice
of most of his contemporaries.
SSS5SS
Above: Goudy's demonstration
Right: Goudy at his matrix-
of the development of the
engraving machine
gfrom
letter
seventh-century uncials
to the twentieth century, from
The Alphabet
28
GOUDY APOSTOLIC
[29]
CHAPTER TWO
omnia gubernarc cuamus a quo itenora mens mittitur ad omma:cjiix

ad cdmunicationem illius o dinata fut^Quom igicur ad nos cducrifus
dcus refpiaatnos turn ipfius radus fitutuiuamus:corporaquocp alat
alatudmemfaam deus fe iplumconuertat:
ac uiuanuQuom uero
tunc corpora quidem extfguunair:mens uero uiuit uita beatiorcÎfta

lillis pfalmiftx fimilia fane. Qua magnificata funt opera tuadomine:
onmia in fapienna feaftiampicta eit terra poffeffione tua: omnia a te
cempore:dante te illi colligent:apenentc

efcam
te manum tuam omnia impiebuntur bonitate^ Auertente aute te faac
puluerem fuii
turbabuntur:auferes fpintum eorum:&:deficient:&:
reuertentur.Ermtte fpintu tuu:&: creabuntur:&: renouabis faae terrse^
Quid eni hxc ab iliis differut quom ph ilofophus aflerat refpiaete dec
expedant ut des
illi
uiuunt ipfius radiis ammalia:c6uerlo aute i lui altitudme extmcuut?
He
clearly
cal rules in
had some mathematimind, but he refused
rulers and compasses. .\nd he
would
not copy directly from older

faces. Earlier,
t}"pe-
Morris and his
col-
some characteristics of Jenson, such

as curve stresses
the foundries had
who were adroit
and direction of
the axis of letters, that are not
faces in small
more evident
ries
in
photographic
enlargements of the
letters
new
than
in
manv
people
changing older
wavs so the found-
covdd justify selling them as

faces. If
one accepted such
with such people: he said with
annovance
that thev
would tinker
with an edge or add a curlicue and

call the result a
\\
new
as unacceptable. For
unlike
tvpe.
Goudy, the
leagues had used photographic
thev are on the page. Obviouslv.
small adjustments as invention,
designer
enlargements of classic tvpes and
such slight accentuations of these
we woidd have
who might make minor
made drawings on them
characteristics as appear in the
Benton of American Tvpe Found-
Goudy drawings
ers created at least
new- faces,
and Bruce Rogers did
the same thing
wanted
to create
much later. If Goudy
also tell
one
something about Goudy's own
faces. (In fact
imagination.
in a
to sav that Morris
two lumdred
he made some changes
ment>
in
That
a tvpographer.
an existing tvpe
adjust-
to achieve
certain results in a single project
had
to start everv
new
face
few famous old t^pes that, to
from the beginning. On the other
not only insisted that
adapt Dr. J()hn>()n'> praise ot an
hand, hi- claim> for originalitv
hand. His drawings of the Jenson
he was right to take such free-
editor of Shakespeare, raise the
were limited: he told students
face that survive are clearlv his
doms in designing types; he thought
corrector
own handiwork, but
all
to study
an old type, he
would draw versions of
it
Goudy
free-
thev reveal
designers should. At the
tiiiu-.
t(ir.)
30
ti)
thr Icvrl of the iinrn-
Goudv was
not alwavs gentle
at
\\a>hington and Lee University:

In
the strictest sense
of the
GOUDY APOSTOLIC
Below: Goudy's drawings of

Jenson
Opposite:
A passage from
Eusebius,
De
evangelica prae-
paratione,/>nn/c(/ bv ^îcolaus
Jenson. lenice. 1470
cm
quentia CO
words probably no one ever
re-
ally designs a type, since, after

all,
what we
call "an original
tradition.
great
He would have
disputed that statement. But in

fact
he had
little
some
than a subtle variation ofan ortho-
He
dox or traditional
bly never even had any feeling
of the newer expressions.
never designed
and lower case that made his pages
could use for almost any purposes
spottv. Caslon he criticized often
he added
for designing letters that could
makers of
satisfactorilv.
and proba-
But
that the clothes
tiien
worn
in Elizabe-
than times were also satisfactory.
form that we strive to endow with
for
a charm of character or a quality
faces generally reveal an impa-
us: "\^liv carrv' lovaltv to the point
of personality, and our
tience with,
of disregarding
efforts
good sans
if
serif.
Stvle. however, has
His bold
not a distaste
for.
it)-,
is
w hat kind of original-
another matter.
Goudy wanted
originality kept firmly
w ithin one
tradition for him.
And w ithin that,
He
singled out
Garamond,
{
31
w ell with his lower
Didot was derived from Bo-
doni. and. as for Bodoni.
Goudy
to the
last
there were good and bad models.
case.
fit
had the gravest objections
So there was
sirable, or
often did not
for capitals that too
are absolutelv devoid of anv artis-
faces he generallv considered sports.
one good
and
Goudy
a measure of originality.''
in general
newer designs.
able lines
into easilv read-
meritorious?" To be sure.
\\
was de-
claim on
composed
thought in 1918 that "his types
heavy faces. His black, or fraktur.
originalitv
all
its
not be
hen possibly some may be equally
sometimes achieve, unconsciously,
How much
ences in the weights of capitals
t^'pes a printer
ville as
patience with
typeface "is undoubtedly little more
letter-form, a
Bodoni. Didot. Caslon. and Basker-
four of the five makers of
tic quality,
being so regular and
precise in line that a
produced."
monotonous
He
objected
satisfactory" types in his catalogue.
effect is
Baskerville he faulted for differ-
to the attenuation of the thin lines
;.;>=.
irfga.ffliKuK.<WLM!aBMMM
CHAPTER TWO
Bodoni
in Bodoni's types, "with a reduc-
tion of the graduated portion of
the curves to a
minimum," and
found a page of Bodoni "a maze

of heavy Hnes fretted here and
there
eye
v^îth
is
He
a type design
of the alphabet
is
did allow that the
is
good,
it is
not because each individual letter
perfect in form but because there
a feeling of unbroken
is
harmony and rhythm that runs through the whole

each letter to every other and to
the
tliat
constantly readjusting
focus."
fect of
grayness, so
When
design,
all.
ABGDEFGHIJKLMNOPQRSTUVWXYZ
its
abcdefghijklmnopqrstuvwxyz
0123456789
ef-
Bodoni's types on the page
was "brilliant." But w hen he revised
The Alphabet twenty years
later,
he kept his original opinion of
Bodoni.
Caslon
Five up, four down. So, what
was the right tradition, or howdid one connect with
was a good idea
to study the old
manuscript hands from which the

earliest type designers
their inspiration, if
When
a type design
of the alphabet
good,
it is
perfect in form but because there
is
harmony and rhythm
indeed they
that runs through the whole design,

all.
0123456789
them. His own remarks on writing and the development of
is
had drawn
had not simply copied some of
ters reveal a solid
is
it? First, it
let-
knowledge of
those hands. But he said that, for

himself, the handwriting was not
Baskerville
very inspirational, that he got a
good deal more out of studving

the typefaces of people like Jenson, Aldus,
Garamond, and manv
others. If he
was looking
to hand-
made letters for inspiration,
it
was
invariably to those of the Greeks
and Romans and mostly
When
a type design
is
good,
form but because there is a feeling of unbroken

harmony and rhythm that runs through the whole design,
each letter to every other and to all.
of the alphabet
perfect in
is
to in-
scriptional forms:
23456789
01
Letters, to be classic,
it is
need not
be cast in Greek or Latin mold: if

they are expressed clearly, as a
Greek or
Roman
might have
ren-
Garainnnd
dered them, with entire freedom
from whims and with a realization

of the necessity for directness, no
frigid adherence or pedantic prej-
udice for the Greek or Latin forms
themselves
is
essential.
cism, therefore,
is
Classi-
not the mere
reproduction of those creations,

but, instead, is the craftsman's
individual re-expression,
spirit
in
When
type design
of the alphabet
is
is
good,
perfect in
not because each individual
form but because there
harmony and rhythm

each
it is
is
that runs through the
letter to
every other and to
a feeling
letter
of unbroken
whole design,
all.
0123456789
the
of the classical, of the thought
underlying those ancient characters.
32
.A
GOUDY APOSTOLIC
Goudy annoyed even many of

hi< friends when he insisted that
is
a nice point, a knife to the ribs.
On
no one could innovate from the
the other hand, the profes-
sional type designer
models who was not
mand
professional,
and he defined
knowledge of
professional as
someone who made
classical
from
his living
Bodon
imalidate his point.
one
does not
He was
com-
good deal more than
may
artist
justification in his definition ofit
to
is
be the practice of but
craft, but unless his interest
concerned with the whole range
of
say-
art.
imaginative faculty
some
degree
com-
it
belongs to
mon heritage that
he will fall short of at-
the
argument
great power.
than most students are w hen they
the
ral
He
said of Jenson that he
to
him and
in types,
Caslon
harmony
a liberal
modern
innovation that
design-
Another way
was trying
to put
it
is
to focus attention
on
pression of language in writing
and then
in t\"pe
and on the
limi-
sion.
As he got older he talked
hope that otliers might
But he did have an advantage
in
He
and depth
coming
to his studies late.
One
never meets wisdom young, and
mental principles, and the
cour-
earlier saturation
to face technical difficulties.
better craftsman.
is
not certain that he thought
However he
learn, however, not to
would make a
got wisdom, the
craftsman equipped
witli the
proper
on which
culture and instincts might pro-
masterpieces are reared. Tradi-
duce a good t)pe. The standard
tion,
tations inherent in that expres-
may have
said
by a study of the
to follow the traditions
Baskeriille
liis
to be. so
it.
imitate masterpieces, but rather
the origins of the ornamental ex-
expressed
it
He must
that he
some of what he
of vision, an insight into fundaage
might well consider."
ers
way he meant them
have an earlier introduction to
will thus ga in a breadth
an
conformity to any standard
spirit
in a culture in
and
masterpieces of all the arts.
he disregarded
that
interesting variety,
he must cultivate a fine taste
"had an
and he was so intent on
legibility
and an
grace,
to the tradition.
instinctive sense of exact
charm, invention,
an
Goudy was much older
own. If he would express

vivacity,
is
for tradition that has
himself in the classical tradition
in his
safely within
it
bounds of reason." That
become steeped
work
all.
grows with use.
nation and confines
taining the fullest ideals of his
became natu-
not
confined to a few, since in
ing that a designer had to steep
until his innovations
is
A sound tradition directs the imagi-
letters:
The immediate business of an
his craft. Tlie self-
fends, perhaps, but
was
pily, the
we
see then,
is
a matter of
w as readability and although Goudy

.
environment and of intellectual
was often imprecise in
atmosphere. The continuous
of that word,
ef-
it
is
his definition
not difficult to
understand what he meant. His
of ordinary tools and household
of generations of cunning
workers along one line led natu-
implements, and he emphasized
rally to the accumulation
his predilection for the old classic
increasinglv about tvpe in terms
that
forts
such things became traditional
onlv through generations of use.
Garamond
edge, increased ability to design,
typefaces. His
and greater manual dexterity,
ters are
In an oddlv passionate statement
that certain
of his case he said that tradition
have come
is
"merely the ladder by which we
cUmb. the working hypothesis that

saves us
is all
from despair because
we have
to
go on."
wonders whv academic
If
it
anvone
settings
of Bodoni, Caslon,
Baskenille.
and Garamond
so
ways of doing things
to
be recognized as the
remark
that if let-
rendered "as a Greek or
Roman" might ha^ e fashioned them

makes
the point.
It is
a point that
Goudy todav from the

who feel a terrific force
only by fol-
separates
lowing good and tried traditions
majoritv.
that craftsmanship
operating against any recognition
best. Therefore,
Above and opposite: Monotype
ofknowl-
imprecision comes, again, from
it is
of the highest
of a past achievement as a stan-
order can come.
Goudy was being cautious,
dard. But such matters of taste
critics,
or
who have never worked
as
haps even reverent, in an age of
are
printers or type designers, tend
the expansion of limitless expec-
tellectual fashion than of
people
to dislike
Goudy's attitude, that
tations.
"Once
in a blue
per-
moon
an
more
the result of purely in-
in life that dictate
changes
whole
styles,
them know
indi\"idual designer ^\iLl distinguish
and they change rather quickly:
Goudy was aware of that reaction.

He added that restraint should
himself bv his personal choice and
is
unusual treatment of details." he
standard, which he tried to base
not dull the craft of the worker
said,
within a tradition: "A wholesome
method, or by a fresh sentiment
respect for the thought and effort
or point of view."
remark ought
"bv some new thought or
It
was not as an
wortli%\ hile to
it
understand Goudy's
on something more substantial.

It
is
not beside the point to
notice here that, for
all
his insis-
brought about a tradition
afterthought that he linked that
tence on tradition and classicism,
go far to prevent the perpe-
caution with w hat he counted on
Goudy was
that has
will
to let
tration of eccentric solecisms." Tliat
his audience understanding:
33
"Hap-
not doctrinaire about
the traditional
methods of
print-
u'-
iVWA/v
ABDEGNRS
!
34
:^
>'^r^L
v
-v.'^
^^!^'/^
Above: Inscription on Trajan's
Column
in
Rome, second
cen-
tury A.D.
Opposite: Goudy's drawings of

capitals from the column, from
The Alphabet and Elements of

Lettering.
The resulting tvpe
was called Trajan

issued in 1930
35
Title
and
m^tîisa
CHAPTER TWO
up
and seeins the

moon risins, walked towards the palace. As he
passed through the fields, and saw the animals
around him," Ye, said he, are happy, and need not
envy me that walk thus amons you, burthened
with myself; nor do I, ye sentle ones, envy your
I have
felicity; for it is not the felicity of man.
many distresses from which ye are free; I fear
pain when I do not feel it: I sometimes shrink
at evils recollected, and sometimes start at evils
After this he lifted
his head,
anticipated surely the CQuity of providence has

balanced peculiar sufFerinss with peculiar joys
:
Above:
A passage from
Philip
Rusher's Rasselas of 1804.
set in
a typeface designed by Rusher

that
uas intended
Goudx
original.
to be totallv
colled
it
"more
interesting than beautifur'
many
ing, as
of his contemporar-
hand-printed book
ies were. In a
there
is
the experience of a tactile
sense of reading, and that
im-
most consideration. One offense

to
avoid
ofany
those forms are noiv fixed
extreme attenuation
is
Beauty, too,
lines, as this involves con-
ty
detracts
portant to an understanding of
the eyes, which, though slight in
Beauty
Goudy's ideas about type. He
the reading
printed
many of his own books by
hand and had

old books.
a passion for the
He
insisted,
line, is
own matrices, that he could
In the first place, simplicity
from easy
ij it
readability,
an inherent character-
is
isticofsimplicitv.dignity. harmony,
extremely wearing in the
aggregate.
when he
of a few words or a
desirable, but beau-
must not be emphasized
stant alteration of the focus of
is
is
legibility in later years
was deliberate. He knew main
ject,
Vi
psychological and otherwise.
hen he opened a chapter
always found
French
an easily legible
legibility
is
seldom
ol
the current studies on the sub-
Trpologia with
type; yet
of
cited yery old formulations. That
proportion, strength qualities

in
Goudy often
cleric
a citation
about what
in
from
made
the eye tired in reading, he was
necessary; this requires a
achieved by a predetermined effort
being funny and serious
between one
study of the essential root forms,
toproduce it. To attempt conscious-
same time. The passage he quoted
thousandth of an inch and two
which are practically those of the
ly to give
the edge of the
lapidary capitals of two thou-
beautr to a
was
sand years ago. Each of those
alscr, to
cut his
feel the difference
thousandths
in
typeface. But
his life he
all
trying to discoyer and formulate
whose printing
rules for people
might be flone
in
many ways other
than the traditional ones. His principle of legibility
understand,
his
at
is
important to
some
length, in
own words:
Pleasing legibility
form
is
characters
had an
By emphasizing
tic
this characteris-
nothing in
it
way
the fore-
camp he
in:
the
more
& does
not appear to
judge
and
He
and
W
I
It
& seemingly the obvious
inevitable thing,
hen
lie
turned to defining
stood
to declare w liich
"The
less tiie
fatigued in reading a book,
character seems to hare been
delightful
36
it
is
indefinable taste that makes
of personality, which
as fat as we may go, sin^
sought:
Goudy was using

eye
is
tlic
from Ancillon was famous, but
its
it
be the outcome of a subtle
inclines us to con-
found any letter with its neighbor, we may get a new impression
is
letter is too frequently,
exhibit the intellectual
thought in
that
or quality
is
specific character or
process by which
individuality,
quality in such a
at
of
at liberty the
mind
is
to
it.
frequently warned type
designers not to become enchanted

witli letters; if
they were to be of
use to reader> they could only
design whole alphabets because
it
GOUDY APOSTOLIC
Above: In 1694 the French

entist
sci-
Jaugeon recommended
"the projection
of every
Roman
capital on a framework of 2,304

little
might be possible to design tw entysix
beautiful letters that w oiild
ven
baffle
and tire the eve of the reader.
His constant insistence that the
mind
perceives words, not letters,
seems a
bit
one looks
schoolmasterish until
at
many modern books
squares"
Qbcdefqhi
JKlmnopqr
s tuviuxuz
dd
and magazines and newspapers.
The number of typefaces

bothersome
to read
that are
seems
to
be
increasing exponent iall v. and one
manv designers ignore w hat Goudy defined

can only conclude that
as their first duty, "to
combat anv
attempt to interfere materiallv with

the accepted
medium
of intellec-
tual exchange." Tlie notion that
t)pe designer. t^"pographer. compositor,
and printer w ere all guardi-
ans of literature and thought

essential in
design.
QbcdefqhiJKl
mnpqrstuvui
xqzag
do
impatient w ith anvone w ho thought
essential
the \\ ork of such professionals coidd
suit of
be. or should be. trivial.
itv.
As
1925
face
in
bold wide and condens-
ed bold, a modern attempt

create a rational typeface
simplicity, that
is,
work would be
second, contrast, as shown by
everv curve
marked differences
thev might sacrifice the individ-
of the
lines
in the
and
ual character of their work,
and
hair-
is
also as
shown
in the
varying widths of different
and
and stroke too much:
indi-
vidual letters (stems

lines),
weight
lost if thev refined
composing the
let-
third, proportion, each

its
proper
and relation to the

parts and to other letters
value
ofpurpose and
He encouraged
which
really the expression of their
art.
He
has a striking formula-
found
unsettling, but quite pro-
tion
tliat
has serious impli-
cations in an age
when
technol-
becoming increasingly an
other
ogy
these
extension of ones fingertips,
use.
is
it
not of ones brain, erasing the resistance of matter in the creation
tA"pe
designers
of that most plastic creature.
to seek beauts". but onlv
w ith great
'"Tlie limitations
of equipment and
made
the productions
care; ever}-
advised t\pemakers to avoid ex-
form having no unnecessaryparts:
is
He could also be ferociouslv
a practical level, he also
of the accidental qualities of their
first,
the aspects
Goudy's dicta about
On
legibil-
things:
three things in connection with
to
beauty endangers
treme polish, arguing that some
part of a letter having
Universal lower-case-only type-
letter in pur-
Legibility depends on three
ters:
Above: Herbert Bayer
for the letters themselves:
form of a
37}
change made
in the
materials
t)7)e:
HBiiUtt
CHAPTER TWO
The King's fount by Sir Charles

Ricketts, of which
in Typologia. ''His
Goudy observed
intention was
in the right direction, but

to
of the
printers beautiful be-
first
cause the resuhing restraint and
harmony compelled
Goudy was
Yet
that
let
no definition of
alone of beauty,
. .
readability,
is
own standard
His
style.
acutely aware
exclusive.
Goudv was
rant" were not proper standards.
.a type
one that
is
humored but
was:
claiming for type designers and
Vale type by Sir Charles Rick-
forms
tvpographers was that they were
etts,
and
its
made
nut
display
to
artists.
He had
so
much
authoritv
be easy to read, graceful, but not
sign thev
years tried to arrive at a scientific
weak; decorative, but not ornate:
verv seriously.
definition of readability, only to
beautiful in itself and in compo-
practices well
made ridiculous bv designers who followed
sition; austere
who
for four
have their speculations
their rules.
He is entertaining about
the schemes of the French scienin the seventeenth
Jaugeon
tist
century, which involved creating
roman
2,304
capitals
little
case and
on
framework of
squares and the lower
italic letters
on systems
the skill
and formal, with
had
down
laid
them
He knew
own
his
and could describe
But. to a great age, he
fully.
the
simple
taken as the most important pro-
for official publications for
in design, but not with the bas-
nouncements on the design of t}ê,
readability, "a conclusion that
tard simplicity of form which
is
even as he chided designers and
not shared by me, since I do not
mere crudity of outline: elegant.
printers alike for their insensitiv-
find
ity in its irregular parts:
thdt
is.
gracious
in line
and fluid
standards, beauty.
itv to tradition,
must
and the verv materials thev were
possess unmistakably the cpial-
working with. His good humor
form: and above all
in
it
that
sharp.
prehended, and about the attempt
the designer puts unconsciously
ens of his talks and
of Philip Rusher in England in
into the
we
itv
call ''art"
body of his work.
phlets
Goudv"s rules for good print-
the nineteenth century to create a
ing and tvpographv are very
He
much
prodding especially
his
One can
read through dozhis
all
pam-
and books and ask again
and again:
be done?
All right,
what should
Goudy never answers,
scorned
but asks another question or ques-
who
tions another long-accepted rule,
Morris. C. W. Ricketts. C. R.
forgot that their purpose was to
In that sense he was a good old-
Ashbee. and others
people who
express not their ideas but those
fashioned teacher.
stimulated his
of the author of the hook. His
telling pages contain
analvsis of the failures of
in fact
own
had
first
his
^ illiam
interest in type. His
melan-
of a piece with that.
designers of books or printers
contempt arose from
much
his feeling
cholv conclusion was that, since
that
the creation of Caslon's old style
tvpographer or printer to draw
type in 1724, "we have gradually
attention to his
drifted
awav from the canons of
easy legibilitv."
His onlv suggestion for improv-
It is
hard to think of any
other way. and perhaps his can-
dor ought to be appreciated.
It
it
is
so
easier for a
own work than
the ideas of the writer,
to
and he was
In the end one
struck bv his
is
restraint. \^ ithholding
gave
little
judgment
the vital
of the means by which

a qualthe idea is presented
structure
his age. as
inseparable from the work of
ous.
dling of certain details in some

letters
actually gives them an
appearance of clumsiness." He
conceded that,
and
it
"It
was
legible
was an innovation"
C. R.
Ashbee, a disciple of Morris.

said, "f Ashbee J seems
Goudy
it
defies
easy reading"
now. was for the

in
any
work of
oth-
and
for the others
respond with more praise of
the praiser.
that, "His han-
beautiful only as
ers constantlv
to
Goudy found
is
coterie to praise the
and
Golden type by William Morris.
The ordinarv wav of
^liat he wanted was style:
ling both the form
Typologia
have had the idea that type
most conspicuous people
The living expression control-
in
is
legible"
to
building up people's reputations

in
Goudy wrote
its
hi> friends
comfort to
or to him.
fit J essentially
Endeavour tvpe by
alwavs suspicious of easy ways,
ing readability was to try better

types.
Municipal Council of Paris
continued to demolish what were
thing which comes from the spirit
most
Motteroz type, 1876, chosen by
no stale or uninteresting regular-
com-
tvpe never seen before. But his
the King's fount evolved
would have been taken
makes
that thev could scarcely be
earlier face from which
an
clear rules for de-
some-
of geometric shapes so complex
eptly"
and pleasantly
easily
hundred
theorists
in-
independent, and what he was really
for a couple of decades that if he
amusing survev of designers and
was carried out
it
also exasperatingly
of the designer, but instead to help the reader. Type must
In Tvpologia he wrote a fine and
that
seems
without mannerisms,
readable, masculine,
distinct
naturallv good
me
it
The method
Goudy did
obvi-
had
reading of what he
about design that his
passion was to get
ment
some
real argu-
started about the history of
design,
to everyone,
nale of
of that.
fair
to sav
He
little
was quite generous
is
from anv
its
standards, the ratio-
and whether
could he
readers of papers and magazines,
;7v
who
a craftsman wholly unconscious
hut
were to have them replaced with
of style or of any definite aim
to-
specific types he usually confined
similar publications in a superior
ward
that subtle at-
himself to discussions of the clas-
The apostolic Goudv was a vers"
type, he said, after a time \hv\
tribute
sic faces or his
own designs. Since
good influence and one that ought
his death
been^sy for people
to
think them quite readable,
realize
how unreadable was
the type they
had become accus-
woidd
tomed
to.
He said
bity that "the
with
some acer-
customs of the igno-
it
///
beauty.
to the
It is
of printing which
relates
time of the actual worker
the craft, as influenced by his
environment and the
stress
of
when he began
it
has
to talk
to translate that habit into
mere
it
approached philosophical!) or theoreticallv at all.
be revived. There are no an-
swer>.
think, to the questions he
egotism and self-promotion. Goudy
often raised about esthetics. But
i-dear
there are important questions left
had enough of both. Rut
necessity.
about
it.
38}
it
GOUDY APOSTOLIC
''Awak! awake! I biînq, IuFa, I hmnq

The newis qlad, xhax blisFulI ben and suiê
Of xhyconFOf^T: nowlauch,andpIay,andsynq,
Xhax ORT besid so qlad an auenxune;
Haec honorum
caelestium ad puellae mortalis culti

modica translatio uerae Veneris uehementer incenditanii
inpatiens indignationis capite quassanti fremens altius sic
disserit, *en rerum naturae prisca parens, en elementorum
CLAUDE MOTTEROZ was born
in
1830,atRomaneche(Sa6ne-et-Loire).
As the descendant of an old family of
printers he was taught printing, to
THE CRONYCLES OF SYR JOHN

FROISSART,translatedbyJohnBourchier,
Lord Berners. Reprinted from Pynson^s Edi^
tion of 1523
and 1525. EditedbyHalliday Spar/
u^ Of fiic ycUun? scries ft\c following will probab^

\y appear ip tbc course of tbc pcxt two ycars^ apd
witb tbe wor3^^ it is bopcd; of &)Q artists wbosc
panics arc appended; tb^y bavir^g pron)iscd
and.
\\
hat
is
more significant, new
questions to be raised
that
all
the time
no one is now thinking about.
It is
fying,
manv
more
as. at best,
can now
quaint. Lp-
^ illiam
Morris.
almost
than
anyone from Goudy's era

to read
Goudy on
ciples of t}ê.
the prin-
Almost any of
contemporaries had
his
face,
and which has made many a
publication look archly important
but oddly unearthly.
Goudy was
It is
his fate to haye
annoyed
the people he was closest to. the

eyery day
workingmen, by refusing
type and printing, and he spon-
among the leading

figures of his time who woidd tempt
and
Mern mount
the wrath of powerful people by
the design business by insisting
pointing out that a face that
is
that design is in fact a business
ter-
but designers haye to be artists.
and certainly more com-
Lpdike. C. R. Ashbee
sored t^-pes for his
Press that are simply unusable.
Morison.
finally
engaged in the
design of a type for a newspaper,
produced with
man, which
is
his
team Times Ro-
perhaps more
fa-
the only one
good for
book
is
probably
rible for adyertising or
newspa-
pers or magazines and that there

is
a standard for eyery
means of
to giye
to haye
Goudy
he
is
that
them
is
rules
from on high
enraged his peers in
neyer comforting, but
the one person of that era in
game to w horn you haye to go
much more
miliar to readers around the world
expression, as there are different
back constantly to be sure you
what was
today than any other face but which
enyironments for different publi-
know all the questions you should
cations.
be asking yourself.
articulate notions about

right.
be seen
t\"pes that
dike wrote a wonderful history of
\savs
Stanley Morison. Daniel Berkeley
is
both designed
satis-
in
forting, to read
it
better questions. Morris and -\shbee
But Goudy always asked
is
book
face, not a
newspaper
39]
CHAPTER THREE
.^,
own account Goudy was
forty-six years old when he stoj)ped
after
being an amateur and took up
ile
By
his
facsim-
of it from memory. But as
re-
member, any
as a profession.'
creative'mrXincX
THE
when he
thirty
first
drew an
LIFE
al-
phabet that
and
cast
into
type. If there
seemed abso-
AND
hitely lacking in
my
liad
ly
E W. G.
youth that ex-
he
talent
from an ear-
age that was
serve
to
anything in his
make-up."
One
OF
is
time
this
at
TIMES
foundry- bought
well in
him
making
was
plains the ex-
types
traordinary
strong instinct
career he took
for mechanical
in
middle
things; he even
it
seemed
intended for a
up
age.
to have
escaped his
and everyone
else's.
memory
In 1939 his
who had known Goudy

dent
at
as a stu-
the Shelbyville, Illinois,
time to become a mechanical engineer.
Goudv was born
friend Vrest Orton talked to people
ton. Illinois,
the Civil
in
on March
Blooming8,
1865, as
War was drawing
to a
Christened Frederic William,
high school. Orton reported that
close.
"not a single schoolmate of his in
he was one of three children, two
those days saw a great future" for
boys and a
woman remembered
him as strange. "We all liked him."
Goudy and Amanda Melvina Trues-
Goudy. One
she said, "but
always a
little
somehow he was
queer."
The
artist
Robert Root, another classmate,

said that
lad.
"Goudv was no unusual

become
of John Fleming
girl,
dell
Goudy. In 1865.
still
spelled the
changed
it
only in about 1883
many
name both
in
variants of this
Scotland and in the
United States). John
come
a sign painter."**
Goudy was no more informative. He remembered winning a
his father
name Gowdy; he
(there are
would have said he was des-
tined to
to Illinois
Goudy had
from Ohio where
Thomas Biggar Goudy,

farmer. Thomas may have
his father,
was a
drawing
been an immigrant from Scotland,
contest and recalled that
when he
but in his accounts of his
was ten he could make
"credit-
first
and above: Goudy over
make a good
could
fully, I
type designing
Indeed, he was
Left
copying one of these care-
prize in a county
own
background Goudy simply said

was "of Scottish
able pencil copies of wood-engrav-
his grandfather
ings found in the magazines of
descent." At the time of Goudy's
the '70s, and, strangely enough,
birth,
the
years
41
John Goudy was the super-
CHAPTER THREE
intendent of schools in Bloom-
He moved
ington.
his family to
was developing a
graphic arrangement." Typogra-
several other downstate Illinois cities
phy was not
before he went to Highmore, in
of
what was
tory, in
the
still
Dakota
Terri-
1884. In Dakota he estab-
lished a real estate business
was for
and
time a probate judge.
but later in his
life
he returned to
was onlv
Goudy
in Shelbyville that
located
some
roots of his
later fascination with letters
1888 he
mind
a living,
wav
as a
however; in
tried to establish a loan
and mortgage company and, when

the plan did not
work
he
out,
moved to Minneapolis and became

a
department store bookkeeper.
and
concerned his decora-
Sunday
tion of a Presbvterian
School room when he was sixteen

years old.
He had proposed
in spaces
between the windows
to
fill
to
Springfield, Illinois, to
work
in a
real estate office,
and
in a
few
months he
Chicago.
left for
Anyone with even
drawing. His favorite story about

his youth
making
in his
The next vear he moved on
school administration.
It
for typo-
flair
terest in design
a latent in-
could hardly have
avoided being excited by Chicago

in 1890.
The
citv
was swept up
in
planning the Columbian Exposition of 1893,
and design, of
ev-
Commandments cut
ervthing from buildings to clothes,
out of colored paper and glued to
was the topic of the day. In the
with the Ten
the walls.
The
project grew until
had
event, that world's fair
a very
on the appear-
he had to cut three-thousand char-
long-lasting effect
acters for the Biblical verses he
ance of this country.
put up. His work had disappeared
effect
Some of that
was execrable, but the news-
by the
paper and magazine battles about
1930s when a disciple went to
design between the florid neoclas-
Shelbvvillp with an offer to pav
sicists
under
a heavy coat of paint
room
for restoration of the
as a
shrine only to discover that the

paint could not be
removed
with-
out destroying the letters under

it.
The only other
recalled
making as a boy was done
just before he
"Our
local
delivery
moved
school of Chicago architecture re-
main memorable,
contributions of
wagon and asked me
if 1
some of
the los-
nevertheless be-
in the next century.
The movement
in
that
John Rusk-
and William Morris had cham-
pioned in England took root

this
what today wouh
the
who
especially the
came powerful voices for new design
name on each side
did, using
people
ers,
to Dakota.
baker had got a new
could paint his

of it.
lettering he
and the leaders of the new
country
1890s
first in
craft
in
Chicago. In
It
and design shops
was assumed
in that age that
Top: The
Columbian Exposition
design was a unity and that people
of 1893, Chicago
could pass from one part of
Opposite, top: Louis Sullivan's
then
were everywhere in the
letter.'"
Jane Addams's Hull House to Clara
another without
Barck Welles's great Kalo
silver
nience. In 1890, for instance, Frank
Above: William Morris flanked
Orton he
shops, which continued produc-
Lloyd Wright was eminent as a
by his wife
May
thought Goudy would become a
ing handwrought silver remark-
designer in metal, ceramics, and
printer Sir
Emery
sign painter.
able for
be called sans-serif letter

it
was known as 'block
Presumably Root had

in
mind when he
In Highmore,
that
told
wagon
Goudy worked
its
city,
from
original designs until
glass;
later,
as
much
it
to
inconve-
an architect, he
Auditorium Theater. Chicago

Morris and the
Walker, Sep-
tember 1895
1970 (Mrs. Welles, three years
used his talents in those materials
Opposite, bottom: The opening
for four years in his father's real
Goudy's junior, lived
be ninety-
to spectacular effect. His mentor,
chapter of William Morris's The
estate office, principally as a book-
seven, and the shops outlived her
the architect Louis Sullivan, was
Storv of the Glittering Plain.
keeper. But he also began doing
only
no mean decorative designer
1890. the first book published
the layouts for the
many different
five years).
to
Even the
department stores had
large
their
own
himself.
It
was Sullivan and
a few
forms the business needed and
handcraft shops where original
other architects who set the agenda
later said that "unconsciously,
design was highly prized.
for the discussion of all design in
^
I
42
l)v
Morris at the Kelmscott Press
XiX
mm-
THE
LIFE
A\D TIMES OF
F.W'.G.
those days; they had deep influence
then the largest printing center in
on the thriving school of lettering
the Lnited States. His
in Chicago, a school rightlv.
and
there
beyond what the
des-
ing directly.
A Tahic of the Clupttn of this Book.

umc
1 Of those Thne who

the Raven. In E\i1
to the House of
T;dmgs come to hjnd
Oevebiid, 4 C 11! The Wartion of the

Ri^-en seit<J)theSeis.= C IV HallbLthe ak.
eth the Se.
C V They come unto the Isle
had
little
to
first
do with
job
print-
12.
of Rinsom. t5.C VI-OfLhhxILneof Men on

VII
the Isie of Ransom. 28.
Feas; in the
Isle of Rinsom. ;7 CVIII Hillilnhe tIieth
Shtpi^sm from the Isle of Rinsom. 5;They ccme to U'.c Land of theG'ictcnnr P.ini.
f^ty fô-^ Converse -rth PoUt of
5t.
theGfcttermg PUin. CO.
XI TheSei.eJiie
reneweth his Life. 7;Xi! They look on
the King of the GIiTtenng Pliin. 7;
XIII
Hilibhthe beholdeth the -oman who Ic^xth
Hinbhthe his soeech ith
hum. So
iheKinjsgim :;
VctHiUblnhesptili.
CIX
CX
CXIV
ignation usually implies,
XV
C XVI
known
as a school of architectural letter-
the Kin^. tot

eth
Those Three
go their wiys to the edge of the Glirrcr^ng
Hillblithe imonfst the
PUin. 10c
i*-~.th
for reasons
ing.
up
Today one has onlv
at the letters
to look
of the somewhat
He became
secretary to Richard
financial broker,
private
Coe Alden.
whom he had met
when Alden acted as the agent
for
the sale of Dakota farm mortgages
eXVII
Moontuos.
115
CXVIII
HiIIblithedue"eth
CXIX.
HiHbl::he
the %-ood ilone, I2tSo no-A sj-.lcih
builds him A slafF. t^Hallbiithe iway from theGbttermg Rj " '4;
Or iheFightofthcChimpior^ -n the
TSc. go
H^n cf I.H. Rivigers. 157.
from the IsIeofRjr:som 2nd come toC'c.cl^nd
by the Sci. 17S.
CXXI
XX
CXXII
mystical sayings Sullivan applied
negotiated by
to the great gold-leafed walls of
ther.
Auditorium Tlieater
Goudy and
his fa-
"Since he was familiar with
vision of the integritv of graphic
some of the layouts I had made."

Goudy said, "he had me arrange
design and architecture.
and have printed
his
to
[43]
to see his
for
him
the pro-
Of more immediate importance
spectuses of his clients, and in
Goudy's future, Chicago was
this
wav
came
into contact with
imMsumi
idiiiMafaiiiriDll
CHAPTER THREE
several
Chicago printers." In .\ldens
design and tA'pes and was an apostle
office
he came into contact, as
for the ideas of Morris.
well, with a secretan,
Sprinks.
to
Bertha Matilda
took him seven years
It
make up his mind but he finally
who introduced Goudy to
books from the Kelmscott Press
and other private presses
than a year wth .AJden.
Goudv was back
in real estate,
En-
in
number
gland, and he and a
married Bertha.
.\fter less
Millard
was
It
of
...P(ôtc^...
to
Chicago writers in the group also
Goudy
led
I'CIll.ItATION OKKItK: U"*
Xewberr\"
to the
Motto:
where he stayed four vears. But

immediately became
his interest
gained a reputation for inge-
in the Saints
John Suckling, printed
als in their
Printer,
magazine. The Inland
began
to praise his
work.
tvpe designed bv Charles Rick-
him
and
Modern Advertising.
a few issues, but
It
1892.
in
lasted onlv
brought him
it
who
said he
1895"
saw
first
(in fact
ing managers of the city's largest
glory" at the time. His copy of
manufacturing and merchandis-
has an inscription to
his patrons for
some
important, through
years.
it
be
to
More
he met
ill
it
ber
3.
is
the
who
first
was Bradlev
had the notion of de-
new cover
signing an entirely
for
self
an
interest
creased with vears, and,
Inland Printer was the publica-
Ricketts
tion he chose for his series of im-
before he
pressive experiments.
Goudv
of-
ten acknowledged personal inspiration
from
Bradle)-,
of Bradley's
but the model
work was even more
important.
of his early years in Chicago
Goudy
had a job in a secondhand
on
man who,
died, dumped
hands of the
later
to
keep
phi-
work, in printing as well as
may be a little surprised
inspired him;
Suckling volume
it
is
a very
dark
and, by later standards, undistin-
bookstore, where, he always said,
guished
he learned a great deal about books.
the commerciallv produced books
He
of the time,
learned more at the one oper-
ated by the A. C.
lishing house,
McClurg pub-
Millard,
who operated
a section
but next to most of
it
still
looks quite
The
Never in
a
hi- liledid
w ord against
but his
own
him
Goudv
the real estate
tastes
cred-
reliable.
whose
and
attractiveness
unceasin^^
R. J.
Gunning Company
DISPLAY ADVERTISERS
Gunning Building,
years before, to back

cially,
sav
game,
were bound
to
of the store he called the Saints
take
and Sinners Corner. Millard edu-
persuaded C. Lauron Hooper, a
cated his customers about book
schoolteacher he had met severa%
out of it. Late in
1894 he
him
finan-
and the two set up the Booklet
Press in an office on South Dear-
born
where the printing
Street,
trades were concentrated.
Goudv
immediately expanded his reputation
among the printers. For his
press's first
booklet he chose a
nine-point tvpe but found that

the letters took
up more room
than he wanted them
to.
so he
measured the tvpe and then

dered
striking.
where he became
part of the coterie around George
affair,
it
Chicago
&
who know Goudy's
to find that the
have
appeal establishes acquaintance and torces demand.
it
his
all
them out
People
ithave made
we
shortly
Thames
listines.
and systematized
stren,i,nh
mv part.""^
the
of the
natural
hope,
types into the
in design,
For a few months during one
also
is
its
in-
has lead to a great knowledge

taste of bookish things
all
and thorodgh business
it-
which has
each issue of a magazine, and The
was
The irnrneastirable
uses.
to legitirnacy
In
Displays
me
an interest in typographv for
It
lightning
the
book that
work Goudy was

imitate for vears.
and
Novem-
Printer, dated
1923: "Tlii-
human
and
Edmund
over 20 vears ago inspired in
and
itable
"typographic
Bradley, whose ingenious design

to praise
beautitied
Geiger Gress, then editor of The
American
harnessed
to
broii.fii'ht
principles.
was published in
it
was
been confined
"about
it
1896), considered
who were
1892.
advertising pouJer of painted outdoor displays has
by Ricketts. Goudy,
initials
the acquaintance of the advertis-
ing companies,
ffw
and Charles James Cobden-
etts
Sanderson, with woodcut borders
magazine
^TEAAl
in the Vale
That spur of admiration moved

to start a
device for breaking ivur resolutions to economize.
Power of Attraction.
and Sinners Corner
among
editori-
is oi'r
One book Goudy encountered

was The Songs and Poems of Sir
and
Advertising
CHICAGO. NOVEMBER.
nuitv and claritv in tvpographv

the printers,
St.
began study-
first
ing Renaissance books.
concentrated on his advertisements.
He
where he
brary,
MONROK
Li-
it
cast
or-
on an eight-point
body. His concern with getting a

close fitting of letters
all
his life
and lead to
table failures
would
last
a few no-
and some impor-
tant successes.
{44}
That same vear Herbert S. Stone
and Ingalls Kimball, students

Harvard College, founded
at
a liter-
arv magazine. The Chap-Book. Its

first
appearance attracted no no-
tice in
Boston, so thev
moved
Chicago, where Stone also

a publishing house.
it
set
Goudy.
to
up
ig-
noring the fact that he had not the
make anything more

pamphlet, bid for and won
equipment
than a
to
the contract to
zine.
it
compose the maga-
During the vear he produced
(once
it
grew in size and impor-
tance the magazine migrated for

its
printing to the firm of R. R.
Donnellev
&
Sons), he learned a
great deal about design
panded
his shop.
He
and
ex-
got another
bonus from the experience as w ell.
THE
MAY
.,
.897,
WITH LITERARY
AND
LIFE
TIMES OF F.W.G.
Goudy and Hooper changed

the name of their press to Camelot w hen they moyed into a building named for the fifteenth-cen-
SIPPLEMENT
THE
tury printer
Chap-Book
name
the
\^ illiam
of the press became
tached to the
first
Goudys drawings.
SEMI-MONTHLY
Miscellany
^ Review o/'Belles Lettres
Caxton. and
and occasionally would supply a

of decoration that I would
use. ...And really it is due to him
bit
that
Tlie brochure the
issued at
1896 Goudy
"we hope
drew an alphabet of
capitals in a
whom
CHICAGO:
Printed for Herbert
at the
S Stone cf Compar^
Caxton RuilAing
in
Dickin-
most important avant garde
an
it
liter-
Its writers
capitals shortly afterw ard appeared
liying until he accepted a job in
American Type Founders
summer of 1897 as bookkeeper
the
specimen book as Camelot. He
and cashier of The Michigan
immediately drew two more
Farmer.
al-
That may haye been a job he
Dickinson, but nothing came of
felt
them. The face he later called
many
obliged to take since, after

years of Berthas company,
dates from that
he decided to marry her. From
same period, as does his De Vinne
the time he met her in Alden's
Roman, a book face commissioned
office
by \âlter Marder of the Central
he often said for more than forty
Roman
in St.
book
Loui>
who
face based on a
made by
his career
some
years he was sought as a
coyers. This
is
a skill he acquired
CHICAGO.
in
Press
been confusion about the matter
1896. and. because there has
The
years, his best friend.
lections of the two of
people
to
Goudy
he began to consider her, as
who knew them
recol-
them by
later tend
confirm that statement. For the
early 1890s.
was an unusual
it
re-
seem to haye spent
lationship. Tliey
a great deal of time together, quite
a lot of
it
oyer the
on bicycles they rode

city.
all
pattern of affec-
tionate independence was established in their friendship that
was
398 Dearborn Street
in 1898.
included H. G.Wells.
'^'^K
CireRY,
The Camelot
publication in the country until
merged with The Dial
...
W.
Goudy turned to
designing to make a
free-lance
decorator of book and magazine

C.
simplicity." Appar-
son sent him ten dollars, and his
for
Street,
a loye of
press failed, and
fiye dollars.
was to design type ornaments, and
Stna
done
were worth
Throughout
75 80.
is
reform, howeyer; late in 1896 the
Theodore De \ inne.
The Chap-Book was probablv the
printing
with a note asking whether they
widely used dis|)lay type
iBjpcclxm mTited.
to inculcate in those for
ently Chicago was not ready for
wanted
md (Nipcr iiovb m ite ctPf.
that
the Dickinson Foundry in Boston
Type Foundry
Dearborn Street
announced
harmony and
Display
A YEAR
Camelot Press
couple of hours and sent them to
phabets and sent them along to
$2.00
its start
In
in the
PRICE 10 CENTS
became a decorative
desigrjer.
at-
type cut from
later,
I,
in articles
ÛlCa.gO
,j^
Private primjog in limited editioos especiaily solicited
Reasonably high
about Goudy during
to last four decades.
They were
STATIONERS
his life
and since
his death,
it
is
married in June 1897 in the
home
-^ -^ .^
Anatole France. Paul \ erlaine. and
worthwhile setting down his ac-
of Berthas mother in the Chicago
Stephen Crane, and
count:
suburb of Berwyn. just before they
tors T. P.
its
illustra-
Hapgood. Ricketts. Henri
de Toulouse-Lautrec.
^X
ill
Bradlev.
and Aubrey Beardslev. The

ence of these
artists,
influ-
especially
Goudvs
designs and illustrations for manv
Beardsley. can be seen in
years,
and
WTiters put
his proximity to
such
him in good stead w ith
many American w riters, w ho were

happy
to haye their
work printed
Top:
The Chap-Book.
May
While operating the Camelot
1.
1897
Press I found
Above: Advertisement for the
get
Camelot Press
rial
Opposite:
Modern
Adyertising,
November 1892
Overleaf,
left:
The Inland
Printer, February
1898
hard at times
to
of decorative mateI thought might add to the
June 1890
by his priyate press for some decades afterward.
{45
gan Farmer was published.
Goudy may haye been
little bits
keep the books
hired to
in order, but
he
admitted that he quickly began
appearance of the work in hand.

Typefounders' ornaments in the
later
years of the fin de siecle were as a
in the printing
and too
trite for my taste. I had in my
employ a young man named Berne
zine,
Nadal, of French descent.... He

did have some facility of design.
Alfred Zenner, after w atching him
rule stiff, often crude,
Overleaf right: The Inland

Printer,
it
moyed to Detroit, w here The Michi-
to
spend w hat he called "idle time

shop of the maga-
where he made "occasional"
adyertising layouts.
One
of the
magazines regular adyertisers,
work on
a layout, asked
Goudy
to
Ctit
XvMb IMattt
C[o* Ct^dQO
vUdsyot^
jgUi'
N LAN D
PR,nsrTE.R.
tJ 11
A Tec A n
cal JJ o\Jii:*nal
devoted to PRINTESTG anb
t^ê.
ALLIE.D ARTsS arid published

^^7y*^ôrifhly by the Inlaim Priixter*
Coinparty Q/iicaao <3rl7^â?3Â'>^^
-aJBTiiiri
^f^'-^''a" jit;.--'.v?XLafcr
CHAPTER THREE
j ji i
Dim
ii
njW
f^ j. i i'ii.jni
'
iPrtlij
99B
litiiiiLiuiijiiwH
Wi^y:^^.îy.^tAt^fî
THE STAFF
OF LIFE
and a marrs stomach
are^he best of Jrlends
when
Above:
"My first
ing 1893 or 4
initial
''S
draw-
xn
andhmVcd Goods
de-
try
The
Booklet for the
Curtis Publishing
Cambridge City Bakery
Company,
designed by Goudy
O^txt dooy iXatuMÂl
Opposite, right: Advertisement
for the
is
signed by Goudy
left:
f f"
if you 'want real qvmlity

m cdl kinds of Bread Cakes
Right: Advertisement for the
Opposite,
t a
GOOD
FWV
Cambridge City Bakery
the
Ji-oteJ
Gôt^ (Phones
Zenner Disinfectant
Company, designed by Goudy
^^T.^^x^^tî:^^^,T!x^^.T^.tiL.t^.T^t!i.'^^
design some materials for him as

a free-lance job.
Goudy
missions,
fifty
years
One
of his com-
recalled almost
later, led to criticism
that "probably influenced

in
my
lettering than
me more
any other
man
letter
In
companies
forms."
1898 Goudy
lost his
the magazine and, after

as a
bookkeeper
Marx and
job at
up
in Detroit for a
as a free lance.
Hart Schaffner
the
the
He
ers.
also
worked on book cov-
Before he
written to
left
Thomas
Detroit he had
B. Mosher, the
Marshall Field and Mandel Broth-
publisher and printer in Portland,
and Lyon
Maine, asking for assignments.
music publishing
In 1899 he designed four covers
ers <lepartment stores;
He must
&
Kuppenheimer
Company, clothing makers;
working
few months, returned to Chicago

to set
as
and Healy,
volumes
what
at
have been under some pressure
house. Advertisers, weary of the
for four little
Goudy's design for a pamphlet
since Bertha gave birth shortly
typographical messes that most
Mosher called the Vest Pocket series.
cover and said, "You are not very
after their return to their son,
pages were in those days, were
Mosher then asked him
strong on lower case, are you?"
Frederic T.
He seems
eager to have their products ap-
covers in a larger-format series,
single thing."
According
tion "put
to
Zenner looked
Goudy, that ques-
me on my
began then seriously
mettle and
to study ro-
a great deal of
work
to have
had
in the
next
pear in the
eighteen months. Principally he
tive
pages
made advertising lettering for such^ them.

I
48
clear, strong, distinc-
Goudy could make
for
the
in
to design
Old World books, and
through
Goudv
this
first
it
commission
was
that
became acquainted
THE
LIFE
AND TIMES OF
F.W.G.
SUCCESSFUL
DEALERS BELIEVE
WINDOW
IN
P L A Y
ADVERTISING
THE CL'RTIS PUBLISHING COMPANY

PHILADELPHIA, PENNSYLVANIA
who had founded
with the work of Bruce Rogers.
per
the
execution (he needed the money).
to injury
Mosher wanted the
School of Illustration in Chicago,
For the project he developed a
There
the covers to harmonize with
asked Goudv to become an
in-
letter that
do quickly,
about w hat happened next between
Rogerss
structor.
X^
w ith short ascenders and descend-
Goudys account, written when he
Goudy
letters
lettering
on the
said that
title
on
pages.
was impossible:
w as
his
it
t}-pe
Denslow. another newspaper
art-
ers
and
a height in the short let-
could
in appear-
publisher, to issue an illustrated
surprise."
Mother Goose. Denslow asked
on. the Inland
Goudv to letter the book, and Goudv
St. Louis,
submitted a sample page
me. brought out a new
ance."
He was soon
\^
to
ters
ow n and
merely approximate
There Goudy met
was easy
who had convinced McClure.

Phillips and Companv. a New \ork
''Rogers already had developed a

style that
artist
to discover that
foundries had no such nice
ist,
that,
he
standards as mere approximation.
said,
In 1900 Frank Holme, a newspa-
pearance and for his speed of
was appreciated
for its ap-
that
ied
the vowels,
among others
was noticeably high. "To
and one written
sev-
Peter Bielenson of the Peter Pau-
t}-pe cop-
mv
Denslo^^ lettering, and added insult
{49}
some disagreement
my
without considtation with
from
eight),
Hearst."
enteen vears earlier bv his friend
Type Foundrv of
inspired
is
it
Goudy said, "a httle later
not
was
by naming
per Press.
this
Goudy
said that after
episode "t\"pe apparently oc-
cupied
me not at all." although he
allowed that his Pabst
have been drawTi

advertising
t\-pe
at the time.
may
The
manager of the Pabst
CHAPTER THREE
Below: American Cat News,
November 1900
Opposite: Printer's mark of the
Village Press, 1912

brewery- had bought lettering from
out. This
magazine was issued
him through the J. Viaher Thomp-
before the
Goudys started the Ul-
son agency and later a depart-
Price. 10
lage Press, otherwise thex would
Cents
have published
ment store executive asked whether

it
might be cast. Goudy made draw-
NeMTs
Celt
^1^
had American Type Founders cut

F.
then
CHICAGO. NOVEMBER.
asked Goudy to design a companion italic face
...I
for
eral cat people came into the office
1900
to talk over affairs
Goudy said,"an unheard of figure.
nerves
that,
Goudv designed
He began
that, his
work. Finally. I went
away from
sensed that I was disturbed and
another.
came out
with the Mother Goose
ders and descenders.
done
my
the distracting conversation. Fred
but gave them long ascen-
letters
I could not concen-
out into the hall to get
to
compete A\ith the Hearst t^pe Inland

issued,
and
trate (m
is
Goudy
was taking no part, got on my
in those days.")
Bielenson's storv
of the Cat
Club. Their chatter, in which
(That was.
it.
was working against time
one warm afternoon when sev-
and paid him one
hundred dollars
and absorbed
all the cost.
ings of the letters and the store
several sizes of type. A.T.
it
friends.
Once he had
to
apologize for his
Had
I taken the matter
as a joke, I think
whole conception
would have
it
prevented the break
our office
in
was a
changed and he drew an entirely
relations.
new
riment to his business to have
alphabet, eventually produc-
version
more convincing than
is
Goudy's later one.

have had
wrote
stopped.
few of Goudy's
anvwhere
that he
is
get out.
it
no indication
should be
. .
There were no further
moved his
at 604- Cable Vaildin^. Chicago
TublUhed Monthly
in Bielenson's booklet
effects to
another loca-
tion.'"
There
had talked to any of them.
Then. Goudv was always competi-
story.
is
a lot of
Goudy
life.
And he seldom got
Goose incident he was beginning
just
moved
and
the time of the
at
to formulate a
campaign
to teach
people that tvpefaces ought to be
thought
of,
and created,
nal designs.
It
was very
with him, said

to
letter
Goudv once agreed
an elaborate wedding
as origi-
anniversary album for a railroad
common
president for a hundred forty
then for foundries to purloin one
dollars
another's faces wthout gi\ ing credit
Lozier accepted
or to tinker with details of an ex-
to
isting face
and
call
it
new
tvpe.
Goudy's growing impatience with

the practice,
outrage
at
combined with
his
Inland for taking over
his drawings,
makes Bielenson's
an
when
all
his work.
He
in his
angry; he
on.
That move took him into book
office together. Lozier said:
He had hovered aroimd

book publishing when he worked
We were together a year and a
on cover designs
half... until the fall
Goudy began
it,
who
had the same idea, and they rented
wonder whether he should not
of 1902. We
publishing.
for Stone
cover for George Ade's Fables
might have stayed together longer
Spring (1900) was something
had he not acquired a
local sensation
tack ofAngora Felinis
and took an
shows and cat
severe at-
Hejoined
his
treasured
it.
in
ot a
and Goudy always
In 1901
Kuppenheimer
found every excuse to delay until
a cat club
active part
asked him to design a type for the
he had less than a day to complete
in cat
club meet-
company's advertising. Goudv drew
the job,
and then he finished
it
ings, all to the detriment
in
one burst.
Lozier,
dent
at the
business.
who had been
let-
in
He was
no-
pupils,
start
School of Illustration
mentioned
to
Holme
he was looking for a studio so he
Hogarth Lozier, who shared a studio
could go into business.
his
He was persuaded
to
a cat magazine
didn't
that
toriously dilatory about work. Lewis
of
The American Cat Journal which
a stu-
1901 but not one of Goudy's
slow appreciated his speed in

tering was ingenuous.
a fee so large that,
charge more for
story sound right.
Goudy's observation that Den-
introduced him to Goudy,
in that
There were many cats
Mother
tive,
in his
words over the matter and Fred
old Chicago friends were still around
then, but there
him
det-
He said he didn't know

of any way to stop it and would
he had to
from Goudy when he
it
in 1938: a
it
First,
I told
office.
it
of thing going on
that sort
ing the Pabst tvpe. Bielenson's
But ffelt
Holm^
50
many monthmas a cat has

How he ever managed to
letters
based on Nicolas Jenson's
fifteenth-century Venetian type

as modified, he
Ijy
Morris's
was
later to say,
Golden type, the Doves
and manv others, including
last as
tvpe,
lives.
Rogers's Montaigne.
bring out the three or four issues
owes most
of the Journal I could never make
In anv case, what he
It
probably
to the Morris
Golden.
drew was
THE
book
face, not a display,
penheimer turned
LIFE
AND TIMES OF
F.W.G.
rented furnished theirs with his
and Kup-
down.
it
and (juickly became
overflow'
vear later one of Goudy's
involved in the unorthodox
life
students in the School of Illustra-
the Goudys, supplying their
many
A
tion
"^
was
Ransom,
ill
and always unexpected guests with
young
from pewter tankards and
man from Snohomish, Washington, who had more money than
ale
Goudv had. Wlien Goudy showed

Ransom his drawings for Kuppenheimer. Ransom offered to have
matrices cut and typecast. Thus
the people of
Ransom became a
came from
the
seemed
yond
ham
extended be-
It
Goudys
Soon
arrived in Hing-
they were joined by W. A.
who had been
dent of Goudy' 's
Blacksmith"
their life
family, for one thing.
Dwiggins,
poem "The Village

which Goudy was
Hingham
strange.
after the
name
the
To
generally taking care of them.
partner briefly
in the Village Press
of
Illustration
at the
a stu-
School of
and had then worked
establishing with headquarters in
with him in his Chicago shop on
the barn behind his house in Park
many design commissions. Dwig-
Ridge, a Chicago suburb. The
gins, of course,
Village type was
ended up
It
Charles Park, a Unitarian minister in
(aÎjC^^
still exists.
K>
began with
and
cally as all of
would
just as chaoti-
book was issued
ery Walker
1/
the shop.
aspect of
its
mayhem. The one
operation that was
self to
him
make
to
rugs.
make them
sale
become
in later years
books by hand, and for
thirty-
risite. It is
was
odd
to think of
Goudy
weaving rugs, but he believed
behind the Village Press.
crafts deeply,
She would often bet Goudy she
jobs as well as anyone, learning
in his attic.
bet with
the press
a
him
the year before
opened w hen she bought
Swedish loom and taught
her-
It
in a
must have been obvious to them
mark with
time to
in-
life
create beauty,
it.
ferocity:
had
&
a purpose, to
to be
thorough
Thev threw themselves

work with a kind of
laboring, criticizing,
make much of
cursing mistakes, discussing,
a private press in
speculating, sometimes disagree-
sometimes exulting, and
ing,
advantage in seeking out people
always with a fierce intensity of
who wanted
idealism that invested
to live the
at the
same
same way
things.
An antiques dealer whose house

was next door
51
little
Chicago. There might be some
and work
about a burgeoning arts and crafts
For them
into their
but
had
dulge the emotion for its own sake.
far east of the Mississippi
magazine
for people then
ness, but
about
was Bertha who then brought
She had read
was a long one
that they could not
after Ber-
about a decisive change in their

lives.
to
reading.
39 and 35, who had never gone
it
loom was still packed away
that the
first
in
tha died he recalled with pleasure
could perform intricate technical
them on her own. She won her
and long
it
Mor-
two years she was the driving force
Thev were the soul of friendli-
design was,
thirty-eight, a true-blue
and the family
Hingham in 1904. Neither Goudy ever offered much

and
explanation for the move
moved
the apostle for the

all
there for an inspec-
tion, rented a house,
for
to help support their press.
The Goudy who
at
Goudv went
and they
made rugs for their home, and
personal touch in
and case
too,
always
Hingham had never seen

people who lived with such zest.
colony in Hingham, Massachusetts.
Soon she taught
Bertha learned from the outset to

to fold. sew.
Billy Dwiggins,
quiet, gracious little body,
to
and
small middle room
who came a few months later,

and still later brought the new
Mrs. Billy who proved to be a
not chaotic was the composition.
set type
was occupied by
Ran-
some hilarious stories about
the enthusiastic
in
Em-
som for the type and thus bought

him out of the business, but Ransom was around long enough to
house was a fasci-
work-shop. The front parlor was
Print-
Goudy paid
little
nating combination of home and
Goudy's yentures
ing by William Morris and
collect
Their
in the future. Shortly after
its first
Goudys, told
of their operation:
(/P
'\
an announcement of noble esthetic

principles
Hingham. who became a
lifelong friend of the
be destroyed, that type
\ illage Press
for
decades.
in the possession of
unless his heirs allowed the ma-
The
in
name
its
synonymous with great design
finally
Frederick Fairchild Sherman, and
trices to
on
to stay
Hingham and make
Goudys main-
dozen years.
stay for half a
was
to the
one thev
new meaning for

onlooker.
Mabel Dwiggins
life
with
the delighted
"Mrs.
Billy"
CHAPTER THREE
t)
52]
THE
Left:
AND TIMES OF
LIFE
F.W.G.
Goudy with Mitchell
Kennerley
Below: Bruce Rogers, Paul
Bennett,
and Goudy
recalled the
Goudys
of the
life
later
visits to
Hingham in less romantic terms,
in
as "a series of \vaves
troughs."
It
must
ha^ e
crests
and
torv
Hingham. among them the

delightful Rabbi Ben Ezra and
like
hich
Dwiggins did the decorations. But

thev could not make a living on
the books, and in this remote place
not get the
amount
work he needed
of design
to sup-
Hingham
was of value
that
steaks in
Rogers
him much
haps a
little
him
said. ^T liked
felt,
first
at
jealous of
ding reputation"
did not
"per-
my
bud-
but Rogers was
become one of the most loyal

friends the Goudys ever had.
In 1906 the Goudys moved to
to
New York
City and, with Everett
Currier as a partner, set up the
port the press.
Uliat
but he
once." Bertha, he
at
in
Goudy could
his early
was from Indiana but had no

experience of the Dakota Terri-
The Milage Press did produce

nine books while the Goudys lived
\\
Goudy cook
the door of the furnace
troughs.
for
on
that,
Hingham, he was stunned
seeing
at
been mostly
Good King Wenceslas,
admitted
did give
him
in later years
\'illage Press in a
Manhattan office
building. In his search for work,
was an introduction to many people
one of the first people Goudy looked
and printing, including
up was Mitchell Kennerley. Kennerlev had come to New York
in design
the officers and designers at

American Type Founders in Bos-
And
ton.
he became acquainted
from England when he was only

about twenty years old to take
with Daniel Berkeley Updike and
over the
New York
Bruce Rogers. At the time Updike,

who was five years older than Goud>>
London
publisher. His employ-
and Rogers, who was
ness methods, however, and
younger,
in the
^^'ere
five
years
both well established
world of books, Updike as
ers often disapproved of his busi-
and Rogers
and typographer
soon on his own.
up
his
little
on East 29th Street and very

soon made an impression on the
publishing world. Kennerley had
Press.
instinctive
of
good
for publicity,
Goudv when he received a letter

from him introducing himself. He
I
set
office
Riverside
Rogers had never heard
He
publishing operation in a
as the designer
at the
al-
wavs of his accounts, and he was
the premier printer in the countrv
operation of a
persuade
53
taste, a
and the
many
genius
ability to
of the best print-
CHAPTER THREE
ers, designers,
work
and
illustrators to
for him. Later he also ran
Anderson Galleries, which put
the
him
at the
center of the art and
auction world. Kennerlev sent

clients to
Goudv, introduced him
design a
new type
for the original
and he delivered
Life magazine,
became known
the face that
as
MonotA-pe 38-E, along with its italic.
Goudv knew nothing about
the
monot\'pe machine then, and mod-
and eventually com-
ifications the
companv made
missioned him to design and com-
his letters, to
fit
pose books. After his bleak years
chine, distressed him. In fact, he
Hingham, Goudy began to kno^^
never did like the tvpe. But print-
to publishers,
in
something akin to prosperity.
ers did,
His office was on the twelfth
many
225 Fourth Avenue, on the corner
listed
Parker Building,
of 19th Street.
On
the evening of
January 10. 1908. the building

caught
fire
and the
offices
from
were destroyed. Currier sum-
moned Goudv from his apartment

on \êst 117th
Street, but the
two
of them could only stand in the
and watch. Everything
street
in
Onlv the
the office was destroved.
vears the specimen books

it
as
from Goudv. but
the foundrv. not

it
was powerful advertising.

His own work in advertising
must have been rewarding
1909 he was able

trip to
make
to
England. Since
for in
his first
was
this
purelv professional outing, he was
obviously intent on getting back
He
into printing.
matrices for the Milage iype, which
the tourist sites
had been stored
fort to find out
in the building
name
spread his
it
ma-
Goudy Old Stvle or

Goudy Light. The name came from
the second through the twelfth

floors
to the
through the printing industry; for
at
floor of the
and
them
in
visited
none of
and made no
ef-
about his Scottish
manager's fireproof safe, survived.
ancestors: he went solelv to meet
printers
few days later Goudy rented a
desk
in
an advertising office and
returned once again to his
letter-
did not, however, leave off
designing tvpe. In
fact,
continued to work
at
from the time he
left
it
he had
steadily
Chicago.
Between 1903 and the time of the

fire
Vi
illiam Morris's associate
\^
alker introduced
ing printers and
ing trade.
He
and students of books.
he had drawn nine faces, none
Emerv
him to the lead-
many
of the de-
signers in London: to this trip he
owed
his acquaintance with
George
Jones, the printer and typog-
Vi.
who was to become a
ture,
And Goudy was
uith John Johnson, the univer-
lack of interest in food, political
given something
.
up
that library to
ence Marder, who had specific
duced him
notions about which well-known
cunabula. For
faces he
wanted imitated, and
it
is
attention was focused entirelv on
Above: Fred and Bertha Goudv
of the British Museum, w ho opened
request of Clar-
Emery Walker
cated champion of his designs.
were done for American Type

at the
Sir
letters,
dedi-
of an education by .Alfred \^ Pollard
Founders
left:
Top, right: George W. Jones
rapher
of them satisfactory to him. Several
Top.
him and
sity printer at
Oxford
was able to
years
and design. Their pointed
history,
and many other things
that attract tourists to those places
must have made them strange trav-
intro-
to other scholars of in-
many
books, paintings, architec-
But thev were irrepressible
elers.
Goudv
students. In the Louvre
posted Bertha as a lookout to w arn
recall precisely the
Goudy had little interest in them. He certainly had none

in a face he made for the Barron's
shape of handwriting and
letters
him
books and manuscripts
in the
w bile he sneaked
financial paper in Boston; in later
as inspiration for his work.
probable
years he could not even recall what

it
looked
in
British
to use
them
he and his family
of the approach of guards
a block
on
As an education, however,
trip
like.
Museum and
Goudy
it.
w ith a
made to the
he
rubbing from
Roman
inscription
Precautions of that kind
were not necessars
in
Rome, where
made rubbings from a number
the Lan-
Continent the next year was more
of monuments. But one wonders
ston Monotype Machine
important. In Paris, Milan, Ven-
w hat
of Philadelphia
Company
asked Goudy to
ice,
Shortly after the
fire,
Florence, and
Rome
officers of museums
thought
of his drawing letters he found in
theig
{54}
.'
THE
LIFE
AND TIMES OF
F.W'G.
Below: Gaudy's rubbing ofpart
of the word '"Hadriano" from a

Roman tablet in the Louvre
showing of Goudy's
Hadriano Title. 1912
Bottom:
He had almost finished

lavouts when he saw the dis-
deadline.
the
appointing proofs of the Caslon
He
t}"pe.
then designed Kenner-
Old Stvle and Forum Title
lev
single
week and had them
in a
cut in
time to keep to his original schedSince
ule.
'>-
*.V
was Bertha who com-
it
posed the book, she must have
borne the most
pTU'V^
I.V
^1
dering of work, but
Arvo
)-
stress in this or-
plained she
Foundry
<-
it.
was the Caslon
it
England
in
she com-
no record of
left
Ironically,
Qjt-v/jO
if
that
make Goudy famous
in
was to
Great
Britain. In 1913 Caslon acquired
the British rights to Kennerley
Old
Style,
bought
<A^
five
more Goudv
it
faces.
The reception of Kennerley in England gave

It
HADRIANO
^S^
and the next year
Goudv official eminence.
was highlv praised by
critics
and t\-pographers. including Stanley
Morison and Sir Bernard Newdigate.
the
TYPES ARE ALL
Newdigate wrote
first
that "since
Caslon began casting t)"pe
about the year 1724, no such excellent letter has
been put within
the reach of English printers."
The
comparison with Caslon may have

given Goudv a t^înge. but he cannot
have been displeased with being

raised above not onlv people like
Renaissance paintings. Tlie effect

of that tour on
Goudv was im-
mense. Everything he drew
ward
manv
He and
Bertha
made
other trips to Europe in
later vears. but
that
impact on his
reflects its
imagination.
after-
changed
it
was
this
one
teur of design. At least he said
happened
nerlev asked
in 1911
him
set his edition of
when Ken-
to design
The Door
and
in the
Wall and Other Stories bv H. G.

Wells.
cessive variation in color

capitals
and lower case
much
well as too
the letters.
Goudy intended
use Caslon Old Face, a
at first to
t\-pe de-
to use
between
the layouts
letters, as
ley "s
space between
and designed
his
ries
own
Kennerley
tion
Goudy
name. For the
title
Forum
Title, the
Trajans
Column and
in the
Ro-
trations were samples of the tvpe
book is characteristic of his work-
Bishop John
ing habits.
bought
late
of Oxford had
is
not cer-
although their office address
seems
to have
been Kennerley 's.
was 1912 before they were able
to rent their
own
office again, at
132 Madison Avenue, where they

installed printing equipment.
His production of the \êlls
Fell
Goudys were working
It
at
share the \ illage
Press imprint in 1911. ^liere the
bings and drawings of letters he
Among its illus-
Lniversity Press.
Two books
tain,
man Forum.
book on the types of the Oxford
Baskerville.
name of which reveals its origin:

Goudv used as inspiration rub-
on the Arch of Titus
a limited edi-
Morris and Ricketts but even above
page of
the titles of the sto-
he designed
had made
had brought back from England

as a gift for
which he gave Kenner-
book and
the
type for the book.

earlier
them as a model for his new
tvpe. to
So he stopped work on
A few vears
his hfe.
Then he stopped being an amathat
sheets he thought there was ex-
He had
agreed on a
From
then until 1935 the flow of publications from the \ illage Press
is
fairlv steadv.
But increasinglv the work of
Netherlands in the
production schedule with Kenner-
seventeenth century. These
the press
be the
Norman T A.
Munder & Companv in Baltimore.
Then he delaved initial work on
Goudv decided
the layouts until he was nearing
and 1920 he designed twenfs' faces.
in the
signed in the earlv eighteenth
tvpes. of French origin,
century by \^"illiam Caslon. But
some decades thought
when he saw a couple of trial proof
best in England.
lev
were for
to
55
and the
printers.
fell
to Bertha, as
Goudy
concentrate'd on
new t\"pe designs.
His reckoning
that
is
between 1912
CHAPTER THREE
Goudx
Left:
at
work
in
a com-
posing room
Below:
Cvril
cartoon of Goudy by
Lowe
Opposite: T\-pographica Ao. 3
Six of them, including the
still-
admired and popular Goudy Old

Style,
he
made for American Type
Founders, to
whom
tainer in 1915
began to
Among so many
to
in
1534
sour.
designs there
be strange ones.
Collier was truly an oddit\
had seen a page
in a
Goudy
book printed
in Switzerland in
the letter
re-
and 1916. before
the relationship
were bound
he was on
which
d had what he assumed
was a damaged
serif.
^Tiy he would
Goudv Lanston,
a t)"pe in which
he solved the problem of the
by an adjustment of serifs
said
fitting
that he
had been used by the
great printers
first
and then forgotten
about the "foundery.") Goudy
the world of printing. For several
became something of a public figure
years after he
in Forest Hills. For the next
decade
post, as professor of design at
accounts of civic celebrations
\ork Lniversity. but
he was a great promoter of the
output from those years also
Foiuth of July
cluded
Goudy Open and Goudy
Modern and
its italic,
faces that
remain popular now.

In 1914 the Goudys moved themselves
and
their press into a
on Deepdene Road
house
in Forest Hills
more imposing teaching
held a
he turned up frequently in news
after the sixteenth centun.. His

in-
the League he
left
and
club actirities.
The house on Deepdene Road
came
be-
kind of disorderly salon
his students
dents"
it
was
New
really
from the Art Stu-
League who carried his gospel
out into the streets.
He
gave the gospel enduring
for all kinds of people involved in
form. In 1918 he published The
who were
Alphabet and founded the journal
who liked Goudy 's stories.
Ars Typographica. The Alphabet
design and for people

not but
It
was here that his reputation as
was
first
issued under Kenner-
ley"s
imprint, as was the compan-
may ha^ e been

nothing more than Goudys gift
for publicitv that led him to
a raconteur
announce the establishment there
1915 to 1924 he was an instructor
tA'pe,
of the \ Ulage Letter Foimder\.
in the Art Students"
admitted that he was
(His choice of spelling, which one
Manhattan, and his students and
teaching students, printers, and
obsessed ^^"ith getting a close fitting
would have thought current only
associates there becanl^ the ad-
designers.
of letters and "went to extremes."
in Philadelphia at that late date,
vance troops for making his ideas
the origins of letters is wholly deriv-
But that passion for a close
had an effect: there is much mirth
about design, and his t\"pes, kno\\Ti
ative but quite good.
want
to propagate this injun.
is
mystery, but he did. basing the

Collier t\pe's serifs
dra\\"ing
for the
later
also led
it.
He was
another alphabet
same time,
and he
on
at the
Sherman
fit
him during this period to
Gardens. Queens.
It
in the print journals of the
time
was established.
H^w as becoming a public figure
ion volume. TTie Elements of Let-
world as well. From
tering (1922). The Alphabet, su-
in the larger
lb ever-widening
{56}
League
in
circles outside
perbly printed by
Rudge.
is
\^ illiam
Edwin
sound instrument
Goudys
for
discussion of
And
his ar-
rangement of pages of the
letters
March
^mCm
IMmI
fedH
<
IN THIS ISSUE: THE IDEAL
BOOK BY WILLIAM MORRIS
1916
Typooraphica
A PAMPHLET DEW)TED TO
TYPOGRAPHY AND
1,1
LETTER DESIGN
FREDERIC 'W'GOUDY
THE VILLAGE PRESS & LETTER
FOUNDERY' NEW YORK
igr
.^
ssBSBSsma
iiHHHiiiaHH
BUY GOUDY'S TYPES FROM THE GOUDYS
Typogmphica
NO FOUR
'
'
M<3^'XXVI
A SPECIMEN OF THE
TYPES AND BORDERS
DESIGNED BY
FREDERIC W. GOUDY
ALSO EIGHT TYPES FROM ENGUSH
MATRICES
F
a
CAST AND FOR SALE BY
FREDERIC AND BERTHA GOUDY

AT THE VILLAGE LETTER FOUNDERY
MARLBOROUGH ON HUDSON
NEW YORK
'
-->^^
'
K^-iirîrîr^'-ilîirlHI.^'^ r<H
A y'/-;;:/ :^-.;
THE
LIFE
AND TIMES OF
F.W.G.
inspired by Typographica, a jour-
AN INNOVATION
IN LETTER
Goudy began
nal
FOUNDING
continued for more than twentv-
when he
five years,
GREAT many printers have frequently

wished for a letter which has distinc
have been unable to
they desire
among
by the founderies.
phica
is
used
own
these printers.
produced types full of personality. His
Suiza
it
based
They are without eccentricity, and while
free
to
from
was
all
at.
But
Ars Typographwas not so
it
for the ideas he
wanted
He was a good
cially in his editor's
editor
who
his readers, espe-
meant Ars Typographica
to appeal to printers
it
designers and
pay
book
artists,
collectors. It
mented on
nals, but
most of
all.
brought him praise from
their use
is
and from
was much com-
other print jour-
in
Goudy was nonplussed
to find that the printers, in his
words, gave "not a

of the alphabet, in which he gives
fifteen
forms of each character,
hand drawn,
all
perfect wordless
is
instruction.
Above:
''An
Innovation in Letter
\Vell.
it.
it
is
damn" about
a bravura perfor-
Founding," from Typographica
mance, and the issues Goudv ed-
Xo. 4
ited
Opposite: Typographica No. 4
to look at.
The Elements of Lettering was
to design types for
Lanston,
but by the 1940s Lanston had
when
twenty-nine of his faces, and
he died he
the drawings for
left
one they wanted to issue when he

was gone
Goudy
Thirty. In his
made Ga-
year with them, he
first
the Milage Foimder\ held the rights

to
New style for a time before Goudy
sold
column. He
had more than one purpose; Goudv
by discriminating printers who are willing to

casting and handling. The prices necessarily
him
Goudy Newstyle. The first two

were made initiallv for Lanston;
promote.
In fact
His position did not require
Rolls-Rovce or a Hispano-
said he
in his ef-
ramont. Italian Old Stvle, and
those natural deficiencies and irregularities that give
and character to design.

Mr. Goudy prints only with types of his own design
and to do this he has cut matrices at considerable ex'
pense. Having these matrices, he has no objedtion to
moral force, especiallv
tame a word;
that is too
would lecture
are higher than those of the type founders, as there
would rather
of that apostolic spirit
the usual wearying commonplace regularities, yet retain
for
are wonder-
but a domineering writer,
life
foremen). At times he was even a
his
much a journal of typographv as a
on a study of the classic models of the times before print'

ing.
promote
The pages
In his hands
vehicle
their
loining another companv's tvpes.
look
with the practice of the early printers who, in

the absence of type founders, combined letter design
and type casting, and having only themselves to please,
and
the feisty type cutters
Goudv
spilled over into

ica.
did not always win arguments with
forts to defeat the practice of pur-
faces.
Not
shops (where he
its
by far the greater piece of
admire these pages than read them.
in line
letters are
types. Typogra-
relentlessly to
it
ful to
The Village Press ^ Letter Foundery offers the types

shown on the following pages. They have been designed
by Mr. Frederic W. Goudy, well known as a decorative
designer 6;? printer of limited editions. Mr. Goudy's work
is
own
felt like it. to
design in ever*- number, but
what
shown
find just
the faces
To
})romote his
and
tion as well as individuality,
and
1911
in
especially in
and designed are wonderful
it
to Lanston.
Garamont was made at

pany's request.
the
com-
They wanted a new-
drawing of the sixteenth-centurv

face associated with the French
Garamond.
printer Claude
in the
est
Garamond
been revived before

in
\X
Inter-
types had
orld
War
France, and in this country
American Type Founders had
Garamond
ris
face designed by Mor-
Benton and
1917, derived
M. Cleland
T.
in
from faces used by
the seventeenth-centun- printer Jean
Jannon (always regarded
as Gara-
mond faces by the French national
In 1920 Lanston
Monotvpe
printing office).
The types Goudy
so harshly caricatured in the Fleu-
named Goudy its art director, and
modeled
ron by Stanley Morison that
he remained associated w ith Lan-
least partly
ston for twenty-seven years, after
of the letters suggest the tvpes in
man
the great Richelieu folio Bible,
so improvident, the re-
which w ere Garamond's own types.
some
people have been loath to use

Actually,
it
it.
essential reading
is
1939 as "art counselor." For a
for designers and students. Its illus-
who was
trations of letter forms are at least
tainer
as interesting as
Goudy's analyses
was an assurance. But the
job was no sinecure. Lanston speci-
his
Garamont on
Jannon, although some
In any case, this
is
the one type-
ex-
men books through the 1920s and
Goudy produced
made a careful effort
ample of how well Goudy could
'30s clearly reflect his influence
tails
of them; the book
design
when
is
his heart
work. The book
is
good
was
and
in the
also a fine ex-
ample of generosity;
taste.
spondence
And
the large corre-
that survives
him and companv
contains
between
are at
face
in
which he
to
copy de-
of the tvpes he was working
from. Lanston then asked him for

a
new version of Nicolas Jenson's
information a reader
veals an art director with strong
Goudy said he persuaded

the company it needed an entirely
everv argument.
opinions and with a deep knowl-
new- type based
Ars Typographica was oh\-ious\y
edge of the company's operations.
sance models, and he gave them
virtual!) all the
needs to refute
its
it
59
executives re-
t)ê, but
on
Italian Renais-
CHAPTER THREE
Goudy with members of
Left:
the Junior Advertising Club
of
Los Angeles, 1939

Above: Goudy with Mitchell
Kennerley
Opposite: Amherst Club dinner,
Among
1939.
and Bruce Rogers
shall.
Old Style. Both faces proved
cincts
and gave him
some
its
Gold Medal
the lot of
them
and offerings
found
in advertisements
praise of him. Reading the public
"Goudv Fam-
pronouncements made by or about
as the
durable in popularity for a long
in 1922,
time, and Italian Old Style re-
its
mains a much-valued type. For
developed a kind of running battle
sion was a
both these faces Bruce Rogers made
between people who were for Goudv
and he never got
and those against him, and at times
ance about the matter
the display sheets.

Italian
The one
for
Old Stvle must be the most
it
made
in this country. It is
It
critics of
By
the early 1920s
Goudy was
One
Goudvs reaction to this inva-
at least
Goudy 's conduct
the printers and
in all this will
on pressing his case against Goudy
museum. Goudy had parted com-
that he
pany with A.T. F.
ing of
pre-
den burst of admiration.
always designing the same face
and
That feeling was largely
its
w hat inspired any sud-
man whose
advertising
tecture reached outside
necessary always to
w hole. Bullen.
can Type Founders library and
Institute of Archi-
is
it
what was said w as that Goudy was
other de-
American
lished,
him was not pub-
even his standards, was Henr\ Lewis
his
the
the criticism of
than that of his opponents on the
was also the director of the Ameri-
when
behind them, and, since most of
len for a few years. In general.
against
of Graphic Arts in 1920, but
that controversy lay
and
the originalitv of his designs
some resentment grew up
Institute
really unrea-
mind
in
stand the
said
Medal of the American
it
keep
1920s, one has to
designers coalesced around Bul-
printing and design. Inevitably,
when he w as given the Gold
but
in the
Goudy, w ho questioned
scholarship assured that what he
silent
annoy-
Goudy
figure out
Goudy among
of the leading
only by groups concerned with
signers.
rid of his
In any case, the opposition to
be
Bullen, a
among
intemperate
sonable.
being showered with honors, not
him, especially
little
was not loud and not
bv motives that could
type could want a greater tribute

or that he could get one.
ilv."
was also very often tainted
questioned.
it
will
print. Eventually there
hard to imagine that a designer of
than
ill
became mean.
glorious display sample of a type
ever
way into
of the
at the
Howard Cogge-
table are Goudy,
Italian
men
the
taste
and giving
new names
it
or copy-
ing ancient ones and giving
was taken \er\- seriously. Bidlen
in the years be-
name, or
them
that his origins in
made him
suspect, or
simplv had not the learn-
some
others in the profes-
fore 1920, not altogether pleas-
sion who had nothing like his fame.
had added several of
In general, the response of Goudy 's
antly. A.T.F.
its
own shop
supporters was to raise the level
designers' faces to
Goudy Old. Style and packaged of

60
publicity about
him and
the
test
of probity better
for instance,
as late as 1930.
were growing
went
when both men

But when Bul-
old.
Goudy gave
len died in 1939.
memhow much he
rather wonderful talk at his

orial service
owed
the
to
about
BuUens
library
and
to
man.
Such
a delicious feud could
not be contained within Ameri-
can borders. In fairly sharp and
THE
LIFE
AND TIMES OF
F.W.G.
i
turns up in corre-
bander-log of this land indicated
who had brought up
spondence between Daniel Berke-
that they were proud of Mr. Goudy.
of Goudy, innocently enough.
useful
ley I
form
it
pdike and Stanley Morison
in
1923 and 1924." The
are
good summaries
in
letters
some ways.
The tone and dimension of
It
was very loud
no more
re-
Garamond.
Monotype
Company, and he wrote back
that
was much superior
academic credentials and
passage, including the juyenile
to Goudy's. In fact,
macaronics.
himself had suggested that Mono-
Morison when ^ arde wrote him
By
The exchange between Updike
he had
made
for the face, but
Morison felt sure the "ugly swash"

characters attributed to Garamond.
were not Garamond's
as
their yersion
unknown
was proud of the swash characters
Company
yealing than Morison's glee at the
connections, was utterly

to
is
& swash characters!" Goudy
on which Goudy had based
ciated with the English
Xârde's sarcasm
is-
and typographer who
a designer
fine
was the same face then being
Morison exploded. He was asso-
years.
^ arde.
Garamont and asked w hether
faces
sued by the English Monotype
discretion comes with
an American, part of which he
had
it
Juvenem dum sumus: for
He
had sent Morison some samples

of
rend the air with cheers;
the
Morison had receiyed from
quoted to Updike. Frederic
it
may be that they chanted

Goudxamus igitur; and
dispute are clearly reyealed in a

letter
& very long &
the subject
type cut the type.
he added, he
He was
nally,
his
Garamond, Morison
at the
toire
all.
Fi-
what Goudy had done with
"reproduce the
end of
letter
said,
was
he found"
A. Duprat's His-
F.
de I'lmprimerie Imperiale
de France.
That
furious
Goudy for using his own name
at
his.
is catt\
but Morison
knew
man. Goudy had been most
time Morison had
and Morison leayes one with the
\\'ith
become touchy about Goudy, and
impression that the great printer
in association witli the faces he
extrayagantly praised in Ameri-
presumably \^"arde knew it. Gardes
was inclined to court the fayor of
made, and he expressed
can journals for imagined innoya-
a letter.
letter
this
lampooned the behayior of
the Goudyites.
and Morison
cerpted a bit of
it
...you
quite at
ex-
for Updike:
would not have been
home
at the recent cele-
his
younger correspondent by feed-
ing his rancor; so
know how
to take
it
is
hard to
some of his
marks about Goudy here since

his later years he
the terrible things that Mr.
now
threatens to do.
in
will
do
bration, jubilee, medal-pinning
erous in his appreciation of Goudy
orgy with wh. the more audible
types. In this case
it
yidsion: "1 shudder to think of
re-
was yery gen-
was Updike
[61
real re-
it
Goudy.
But
Blado
1
italic
must
get
Goudy
tions
mond
and changes
face
than any other original he
it
and
based a type on.
ahead
thank God, there
is
call
first.
some-
less
in the Gara-
when he had changed
suppose he
thing else in printing besides type-
his
And Morison
was generally right about the

gins of the letters
\^liat gives his
ori-
Goudy produced.
malice away
is
his
CHAPTER THREE
times, of authors of books in which
worn about a forthcoming Goudv
truth would be told, because
Blade. In an advertisement issued
would be such fun
shortly before this letter was writ-
truth told for once in that quar-
strike the fastidious as
ter!"
for a
modern designer
them
for himself. But, of course,
ten,
Goudy had
said the Village
Renaissance
Roman
calligrapher
Lodovico degli Arrighi, usually

called
Blado after the printer
tains the
main criticism of Goudy
at
man working
now one
him. Often
he was designing such a tN'pe. Mori-
Goudy himself was
son was being a
relations
paranoid.
Later in the Morison-Lpdike
exchange Updike advised Morison not to
"flatter
Goudy by
in-
ance
on
at
can designers he was arranging
ing
for the Fleuron.
Updike added that
"on the other hand
tempted, when you
tell
would be
me
the
and while
it
came
twenty of them, he
for
hundred
hears that
first
name
to apply
to
appear on
made almost
that are not called
coming
when design was be-
a respectable subject for
academics and
As
intellectuals.
the group of the interested grew,

it
began
in
it
to divide,
knew- they
and some people
knew more than
Goudv was far too demoto know anything of the

He would give talks about
others.
cratic
Goudy.
kind.
man. Morison's annov-
invented these complaints. The
applause. His personalitv was the
value of them
agent for the popular acceptance
Goudy's name appearing
it
down through
lies in their
appear-
his ideas to
many
anyone, and he loved
his
ance in letters concerned with manv
of
was a kind of
other things; in casual remarks
the cause of most of the resent-
must spring from
From the early age of print-
printers
to
the very time
Neither Morison nor Updike
perception that
claim.
unseemly
the debate about taste in print at
mere public
his tvpes
cluding him" in a survey of Ameri-
might
It
Goudy's name to some of his t\-pes,
one point that Goudv has a
public relations
used.
first
the foundries were the
heard even now. Morison assumes
Antonio Blado. Goudy never said
little
the type was
to have the
This exchange of letters con-
Press could set type in Blado, a
type based on the face cut by the
it
|)eople use
is
current. In a
Goudy was the ^tim of his

own success. He had preached good
design and did more than anyone
sense
the centuries,
had given the names of
very famous people to types,
what
names
of printers 91 designers or, some- else to create a large public for
62
of his ideas, and
was
it
ments against him. For some
rea-
son Americans do not like to admit

that the
purpose of a club
is
to
keep people out, and the usefulness of snobbery
is
exclusion. Tliat
THE
AND
LIFE
TIMES OF F.W.G.
Above: The house at Deepdene.
Marlboro-on-Hudson. March
1948
Left: Fred
in the
and Bertha Goudy
workshop at Deepdene.
October 1933
Right:
Goudy inking
type
Opposite: Gaudy's workshop at
Deepdene
principle holds even
when the snob
rectness in Your attack on a
book
and in the fight over Goudy
problem that somehow I connect
the critics were often right. That a
with vour favorite bill-offare of
tew were unfair is beside the point.
those earlier days
is
right,
As long as he
lived
Goudv had
revenge: there was nothing

dictive about him.
and
his
\-in-
his habit
of seeking solace bv inspiring
more
praise drove his opponents to
new
I first
knew you. When we were
invited
to
dinner at your house .. I knew

.
doivn to a thick
summed
letter to
it
up
Goudy
There
is
and frequently
And
this ability gives
you
started, in the 1920s.
Goudy was
voung enough he was approach take some dehght

ing
SLxty
to
in them. In later years
he became
an enormous advantage over the
somewhat
and
other designers: for I feel sure
mentioned individuals.
simplicity of diet:
iou were all
and
I think
when (as you describe
bitter,
the
In 1923
process) you think of a letter and
for a place
that
then
draw a
line
round it, you are
although he never
Goudy began looking

where he could do
his work, not only designing
all
and
printing but cutting matrices and
who
traced connection between steak-
to all the other letters in a word,
making fonts. His old friend Robert
\-ir-
and-potatoes and f\pe design. For
but also of all the words as a
^ iebking
page, and of all the pages as a
cut aU of
Bruce Rogers
best, in
that you.
thinking of it not only in relation
had risen from the ranks by

tue of taste and skill."
as a printer, can,
is
At the time all these feuds were
must be some hitherto un-
erstwhile book-
keeper from the mid-êst.
of the present day
your power as a designer.'-
porter-house steak (perhaps broiled
for the noble (albeit expensive)
Goudy was "an
you and most other type design-
duce.
sit
of this. too. Peter Bielenson rethat
The great distinction between
ers
think that thus keeping the ulti-
mate use in mind subtly influences
ited him....
we would
mashed potatoes
when he wTOte
vis-
do, use the types that you pro-
There was a regional aspect to
ferred to that
and potatoes when I
the chances were ten to one that
through the furnace doorJ
heights of hiry.
all
when
steak
an open
in 1938:
a certain rugged
di-
there
one of the
last
and most
skillful
American punch cutters, John Gum-
ming of Worcester, who cut the

Montaigne type, alicavs gave me
book even
to the
perhaps be hard
{63]
it.
It
Goudys
who had
matrices from
is
the beginning, was d)Tng. and
would
Goudy decided he was too old

and too much a perfectionist to
binding that
eventually to enclose
of Chicago,
to prove, but I
CHAPTER THREE
64
^^''':^\
jT-/-
THE
AND TIMES OF
LIFE
F.W.G.
Vieus of the mill at Deepdene
The ink dra icing
by Charles
is
E. Pont. August 16. 1939
--
c>>:
?*--
\~
>eek out another
man who
demands
satisfy his
could
graph he had bought for a quarter
versations with opthalmologists
in type cut-
when he was a boy. After he mo% ed
manv
to
ting.
He found an
.i^.^
adjoining mill
old house and an

at
Marlboro-on-
Germany
disappeared from an eye without
Stempel printworks,
the seer being aware of it. In spite
Deepdene he went
to visit the
to
fovmd the manufacturer of the ma-
Hudson. on the west bank of the
chine,
river about seventy-five miles north
some modifications he
of the
city,
bought
there in 1924.
it
the
name
it.
and moved
He and Bertha gave
of their street in For-
and had one
with
built,
specified.
At that time he was drawing

letters
cases in which vision has
seven and a half inches high.
The machine allowed him
to cut
of his dilatorv habits
or
per-
haps svmptomatic of them
Goudv was
paid not a
self:
lot
a driven
man who
of attention to him-
he seemed to regard his bodv
as part of the landscape.
^Tien he
Deepdene. In the mill
metal patterns one-third the size
was trying to sharpen his grind-
thev installed the heavy equip-
of the drawings w ith a stylus that
ing tool under a microscope he
ment, and on the upper
floor, ac-
controlled the cutting tool pro-
suddenlv discovered he could not
up
ducing the metal pattern. Tracing
see through the right eye.
shop for designing, composing,
the metal pattern, he could then
that vision never returned.
est Hills.
tually the entrv floor, they set
and matrix cutting. Tlie mills little

w atertall became a figure
in
some
of the \ illage Press books and the

object of
some fim
in satirical or
drill
Goudv was sixtv years old w hen
was guided bv the edges of
he began engraving matrices, and
engrave the types w ith a tiny

that
The
the pattern.
ratios could
adjusted so that any size of
be
tA'pe
was while he was
comic verses Goudv's friends \\Tote
could be cut.
about him in later vears.
working on the machine that Goudv
During one of his trips

land
Goudy had seen
to
Eng-
machine
noticed that
lost the
It
at
some time he had
use of his right eye. ^lien
own account
made for engra\ing matrices, which
had been fabricated
and then those of
It
in
Germany.
operated like a reverse panto-
graph and reminded him of a panto-
[65
first
read his
others.
of this
1
was
not verv readv to accept them,
but since
and
have found from con-
after that he cast all his types
sold
he
them
made
directly.
The
fifty
after that include
of his most interesting
and
faces
some
the Deep-
dene tvpes. Goudy Text, Goethe,

\ illage
\o.
tional face,
2. the
Trajan inscrip-
and some calligraphic
He even made one for a

tvpewriter. And after the matrixones.
cutting
machine had been destroved
îittiilllliam
CHAPTER THREE
Below: Fred and Bertha Goudy
on the porch at Deepdene
Opposite:
Goudy and
his son
Frederic in the workshop at
Deepdene
in a fire, he
went on designing
types, the last a
the
Hebrew
Hebrew University
face for
in Jerusa-
people around
who can
man on
his visits to the city,
sitting with
one or another friend
old
behind the New York Public
lem.
For the purposes of this book,
Li-
twenty-two years
in those type-
ing.
make drawings. His
travels
and
speeches increased enormously.
and Bertha took
He
to driving great
great age.
dene
in a
settle into
any one place. Their
son and his wife, Alice, had jobs
In 192.5 they drove to southern
in the family enterprise,
where Goudy was begin-
ning to develop a large network

of friends.
He took many
assign-
ments to conduct seminars in

versities
nia
from Virginia
uni-
to Califor-
and accepted almost any
ex-
cuse to deliver a speech, especially in
New York. There are still
is
designers validate that judgment.
impressive. In thirty-five years,
it
She came
sixty
tha presided over the whole of
books of various
sizes
tion's
of the Village Press were
limited editions, but
and began cutting matrices
up
just
as she
had long been setting type.
There
is
who knew her that
copies.
tive pieces,
some books
Some of the fugi-
on the other hand,
were done in single copies as pres-
no disagreement among
Door
in the
setting
The
Wall under deadline
gone from Village Press books,
hundred
set
when she was
and printing.
machine soon
was
1911
of the decade the mistakes are
w ere issued in six hundred or eight
it
have said. In
smaller pieces of considerable value
She mastered the matrix-cutting

after
many
slowly than
mastery more
of these
number
Strictly speaking, all the produc-
it.
to her
made mistakes that

can be seen easily. By the middle
pamphlets, and other fugi-
for their design
and Ber-
the best." Scores
presses in history). Its record
tive pieces, a
way Goudy could never
"and
of testimonies from printers and
sides,
Bertha Goudy settled into Deep-
known
one of the longest-lived private
and more than seventy-five broad-
His good eye was good to a
distances for his speaking tours.
California,
life (it is
and
in their favorite pastime, girl watch-
But he did much more than
long
produced more than one hundred
life in his last
faces.
its
brary on 42nd Street, indulging
the story of Goudy 's

is
running through
recall tlie
entations for friends.
pressure she
and
after that
anyone can see on
her pages the work of a master of
composition.
compliment
had her
ters
It
was not as a mere
to her that
set his edition of his let-
exchanged with
rence.
Rogers
It is
Her son
T. E.
Law-
a lovely book.
said that in
some ways,
Bruce Rogers said Bertha was
especially in her willingness to
the one whfi kept the Village Press# the fastest compositor he had ever
enter into an argument over ideas,
people
she was
^(^
THE
Bertha seemed more a
AND TIMES OF
LIFE
F.W'.G.
Goudy than
1^1s
Rogers eoiifirmed
his father did.
that opinion, saying that Bertha
"was quick at everything, and quiek-
tempered." Frederic
brief evocation of the
T.
Goudys
famih "s ways,
an argument rather than
ting wits
became unbearably
1
1
let-
inter-
esting at times.
Goudvs cannot have been

\^Tien Frederic T.
easy.
was middle-aged
was writing him. on ho-
his father
tel stationerv.
structing
two
ot the
from California
in-
him about printing and
how
also about
new
to build a
matrix-cutting machine (the

ter includes
let-
drawings of parts
the machine),
ôung Fred
to get lost in the
ot
seenir-
shadow of
hi-
^^ÎbîKidi
altogether from the record within

a decade of his fathers death.
mi
^Nh^^^^^^^
If
was resentful he never said
^^wWW
thirty-fifth
telling
Wr
\AI
!||^^^^^^^^/
^^^h u' T^^^^B ^^^^
Hi
^^^_^^^^^^^3
^BBHB
I remember
how greatly, when
I was a small boy, you puzzled
me. Other boys had fathers
went
and
to
after that they
had
lots
of
Well,
much water has gone over
ed the world since those far-off
and those of the
days when you used
to tap
penny bank for carfare.'^

If there
were notes of discord

that
were audible to
visitors, they
had
little
do with
to
and
Days, nights, week-
was often unwilling to interrupt
ends, and holidays you were always
busy and yet we seldom had time
tomed
do
of things our
blamed you for
lots
neighbors did. I
there was an outdoor pool with
but
me
to
it
seemed
who squaw k-
and growled." George
cd. screeched,
and they stank.
One. a large black low-flying
my
plooped on
low,
fel-
shoulder.
\nother. a small and dazzlingly

scarlet bird, settled affectionately
mv
in
tar
and
hair,
whole bottle of
>oap failed that evening to
remove the evidence of
his bird-
were also expected
iirowl with >inu:ino:.
to
and could
names of every
tell
Bertha
them
plant they saw.
Birds were her specialty. She

it
birds w ere
kept in separate cages and others

flew free.
mals as
There were other
well.
It
thas inveigling
women
ani-
had always been
friend
of
w ith w hatever was to
sometimes, as Rogers
meat cooked
me the difference between a

man building a career for himself on his own, and one who
drew a regular pay envelope
groups of
said, with
Some
cats,
and one Goudy child under-
foot constantly in their print shop
He
Howard Coggeshall.
the
Goudy
He
at
home:
liked to dress well, though
never expensively, when
wont
utes
His
environment
noted printer, has a description
Press in Chicago there were dogs,
ill
easily.
into this
made in ten min-
hand
into rousing versions of
Goudy looked as though he fitted
range."
to dinners
memory of Berstaid Hingham
was part of the routine.
her work, guests became accus-
so. \^
Mabel Dwiggins
laughed over the
in a
caged-off section of the porch of
some
piani-t.
show songs. At Deepdene singing
birds.
her house, where
Bertha had a
trained contralto voice and was a
Ransom recalled that w hen

he and Goudv started the \ illage
that because no one ever explained

to
a consider-
kept a large aviary, most of
Deepdene
at
the
my
in a general uproar. Since
to
Hudson. She was
able gardener
harder than any of those fathers,
money
the
dam here at Deepdene and

many Goudy typefaces havefloodthe
personal feelings. The place was
or
Goudvs maintained a small zoo
good
time with their sons. You worked
longer.
though the
as
like affection."
who
work a few hours a day
mav sound
"This
drown out squawk, screech, and
anniversarv of the Mi-
about the father:
ing the place. Paul Bennett w rote:
\ isitors
so.
paragraphs from the son
roam-
Editions Club, said the birds were
he
lage Press, there are a couple of
to notice the pride of cats
a cow.
Macv. founder of the Limited
1938. as part of the
in
failed
and
"all ver\ beautiful,
but in a pamphlet addressed to
Goudy
^^H
down about hi>

mother, but some interesting
thoughts about his father.
He
horse,
erie of tame creatures
V^B
^^^^^
\i
Uv
ter-
something less, say a modest menag-
written
left little
nine other birds, two Newfound-
h>h. too
^^^^^^^^^^^^^^^^v
parents, and he finally disappear-
counted two parrots and twenty-
^ ^^^1
^^^Kbbo^Z^-
Being the onlv son
Deepdene Bruce Rogers
At
rier, a
go slack, sounds as though
the house
there.
land hounds, a small black
with people inventing a reason

for
and distribute the type
Around
to
appear
'''off
the shop he
in
nondescript outfits
the
was
some pretty
usually old
knickers which he preferred up to
few
w hen they had worked late in the
of his death.
Though neat and immaculately
for long,
barn and the light was gone, thev
attired
found themselves taken bv Ber-
would haul everything into the
his domestic
tha on long nature walks next to
diiiiiiiz nxiiii
ened
in the furnace.
visitors, if thev threat-
to bother
Goudy
in the barn.
[67]
also recalled that
of the
Goudvs house
ivithin a
years
when awayfrom Deepdene,

appearance often
shocked the homefolks and caused
CHAPTER THREE
Below:
B.M.G.r
Tribute to
'14
broadside set in Bertha

Opposite: Bertha composing
type
tions of affection
the visiting delegates to specuJ^

late and wonder
"Delegate"
is
Deepdene
pilgrims.
Goudy was
a nut for
the
word
a neat
ranging from printers' organiza-
for
BMG
H TRIBUTe TO
THESE
Among them was a magnifrat for all sorts
BERTHA
Among
M-
She encouraged
those testifying was
The general celebration
fact, that
generated a
it
mirers,
by the Society of Printers
me when my own courage
ton in 1937
awarded two "degrees"
of safety razors was the most ex-
tions&Tvicissitudes of our early companionship;
(Type Designer
If
he heard of a new
make
one interested
valued ; her consummate craftsmanship

possible
and buv himself
many difficult undertakings
made
sought to minimi;ê any exploitation of her own
cent enough, but hardly the cars.
great attainments, that theacclaim which right'
razors
However, no one says anything
fully
about the safety of the roads around
hands of
man
for hoi
me in my work in the fields of type design

and typography 6C enabled me to attain a measure of success which
eye.
It
may have been out of a sense
of competition with
without
her.
F*
who shared Goudy's taste

polloi and pranks. Emwhose literary works
include The Ballad of Mae West's
Reward of Virtue, a
version of Diamond LiL
Bust and
versified
W* G*
both of which deserve resurrec-
him that Bertha
Marlboro, June, 1936
took to collecting. Her daughterin-law, Alice, said
mons
could not have achieved
tone of the
another editor of The American
hers should come, instead, to me. For
aided
with one good
in the
Goudy should look at some

of the poems and broadsides produced by his friend Earl Emmons,
Printer,
in the
and R.E.
light
two-score years, in every way, she unselfishly
Marlboro-on-Hudson when they

were traveled by hot cars
was
Prolific)
badinage that was meant to de-
she ever
seem inno-
The
a copy."
T.D.P.
(Raconteur Extraordinary). Any-
welcomed 6<r
that he
did not possess, he was pretty sure

to step right out
in Bos-
which Goudv was
at
faltered;uncomplaining she endured the priva-
her intelligent and ready counsel
his ad-
among them a dinner given
vividly the razors: "His assortment
tensive in the Western Hemisphere.
number
Goudy by
of roastings of
GOUDY
that
those years was so noisy, in
filled
of
most
things. Coggeshall recalled
Some bandar-
Daniel Berkeley Updike.
my one-hundredth type
lines present
unnamed] before lining, fitting, or

final revision. The type, drawn in humility, is
dedicated to the memory of my beloved helpmate
he "kept himself broke" buying
he was a pack
Roosevelt's cabinet.
design Tyet
but automobiles. Coggeshall says
At different times
of President
log.
he kept in the mill for his work,
icent old Cord.
members
tions to
machines
and gadgets, not only the machines
them.
came from people
tion in an anthology
Goudy's hat
Bertha fretted
in a
ridiculed
long poem. Wlien
about attending a celebratory din-
Goudy was interviewed on
ner one night, saying she would
work radio by the most popular
have to wear earrings and she
newsman
thought she would look
them. Told she looked
began a collection
of
sillv
in
she
fine,
jcwclrv that
on October 21. 1935. when she
was
sixty-six years old. In
the loss of
hundred pairs of earrings, even
years after her death hrr
pair that belonged to the
Josephine.
It is
comforting to think
of
someone
as
workmanlike
as
Empress
accomplished and
Goudy
many
death,
[lis
best friend.
seems
to
anyone looking
Two
moment
ery
files
that ev-
not given to design-
mas,
of the day, Lowell Tho-
Emmons
a wild little
printed the text in
book
is
Goudy speak-
friends,
we bring you
everybody! This
ing.
Now
called Hello
women
ing types must have been occu-
that great star of the radio, screen,
who belonged
pied with dinners given in Goudy's
and graphic arts, Frederic
group known as "The Distaff
honor by friends bent on kec])ing
in
friends in printing,
to a
it
through the Goudy
wavs Goudv never recovered from
eventualh included more than two

a
For several years after Bertha's
net-
Side," asked
him
Goudy to write a book-
in
good
The
cheer.
greatest
person.
Goudv was
W.
Goudy
not inca-
pable of lampooning himself in
A very good example
most awk-
celebration was a tremendous series
similar ways.
going to Paris to buy Josephine's
ward, even painful, thing he ever
of events in honor of the thirty-
concerns his favorite piece of pro-
earrings.
wrote;
it
when
it
as Bertha
Bertha was a consummate crafts-
man. In the
she was
ill
last
year of her
life
almost constantly, but
during that time she
set the
type
let
about her.
It is
the
seems nearly choked.
comes
her work,
it
to
stops.
And
an account of
"When
in
anniversaiy of the Village Press
1938, with
New York
to write a
few words about her as a
in
printer,"
Goudy
Deepdene
wrote. "I find
He
it
Club Rip
most
Van Winkle, and
is
a superb
ply quotes Paul Bennett's opin-
piece of work. She died at
Deepdene
difficult task."
then sim-
publications
The printed
little
sermon on
the
importance of type called The Type

Speaks,
first
issued in 1931 and
sent out again in several different
provide
formats and in different typefaces
Warde's mill for
through the years. All but one be-
enough
a lifetime, one
paganda, a
at
City as well as
grist for Frederic
ion.
many
issued in tribute and fetes given
asked
for the Limited Editions

it
fifth
to
would have thought.
tributes
and declara-
68
.-**
am type!" The ringer starts

"1 am tight!"
gin: "I
with
/
'.
Vl
VI
The Story of a Type
AM ASKED so frequently how
I
a
get
word
my
inspiration
[if
begin a
"inspiration"
in this connection]
is
new type, where
not too important
and very often why I use
or that rather than another, that
this
form
beheve the ôry of the type
used herein will illustrate concretely the matters covered gen,
erally in the rest of this book,
signer's problems.
It is
which
relate to the type de-
the story of an actual commission to
design a type, and it suggests, too, the thousand and one mental
quirks and turns
the soul
, '
'
the various
come thronging," so
in the process of bringing a
every
new
essay.
moods
of mind that through
difficult to recall,
but very real
new type to life, and varying with
The story serves also
to
hx
definitely the
matter of its provenance [a matter of some interest to me, since

I
hnd that already in my own lifetime some of my early designs
are credited to others]
and
this account is therefore of biblio-
grahic interest.
In
my
intere^
library in a bookcase
me
where
keep the books which
as possessing special typographical details, or as
products of private presses, or as typographic curiosa, rather
than
for
any
literary quality they
cently [while
was looking
for
may have
in them,
found
re-
another book] a copy of John
Milton's Comus and Ot/ier Poems, published in 1906 by the
Cam-
bridge University Press and printed in a hodgepodge of incon-
gruous types. And the thought occurred to me that no university
with a university press so far as I could recall, possessed a type

,
which had been designed
for its exclusive use,
and I could not
help wondering why the head of some great university had not
[47]
THE
Below: Pages from
LIFE
AND
TIMES OF
F.W'.G.
Half-CtMitury
of Tvpe Design and Typography
Opposite: Page from Typologia

set in Lniiersitv
of California Old
St vie
PABST ITALIC
POWELL
[Design No. 6]
[Design No. 7]
Not
long afterward, in 1903, the American Type

Founders Company commissioned me to draw an
italic to accompany the Pabst Roman, and this 1 did.
I remember particularly the interest 1 took in watching the making of the patterns for this type by
Robert W'iebking, who engraved the matrices for the
foundry. As it was a letter characterized by a freedom
of outline which followed my hand lettering, he had
About
my
Schlesinger
freehand drawing without undue
ABCDEFGHIJKL
VvX YZ aocaefgniJR.lm
no'^ qrst uvwxy z^ S ^
ABCDEFGHIJKLM
NOPQRSTU VW
X YZ6?iECE,,'::!?abcdefghijklnlno
ff)ffi?!';:^\1234567890
pqrstuvwxyzasoe
fi ff fl
$ 1
23456789
54
Goudv designed
in those years the
one he was most
account of the genesis of the tvpe

in his
across the river
book Typologia. published
is
unclear. \^lien
he looked out his w indow. he saw
The
bv the Lniversity of California Press.
the mill blazing.
Bertha, the face called Bertham.
The matrices were
firemen from several communi-
done
ston.
But bv
far the
most
and the
cut bv Lan-
letters in that dos-
Goudv and
successful was the Lniversity of
sier
California Old Stvle. a classical
of Lanston about the specifics of
face that
was much used. The
correspondence about
from 1936, when
first
this type
betw een
the cutting
make
ties to
Sol Hess
less,
a fine educa-
tion.
Goudy w as devastated
contain the
-\11
the tvpes. the matrices for scores
71
odd pieces he had kept
The
was
fire
were
in his house.
news event,
ferent accounts of
more than
left
it
dif-
appearing
month afterward
with editorials, profiles, and col-
and the type foundrv.
umns. Printing associations on both
sound of someone shouting from
the only things he had
il-
and
a fine
from the debris, but on the w hole
ord of the transactions of the \
awakened, w hether by
Goudv wrote
some things
in papers
lage Press
clusive use.
ing he did pick up
patterns, virtually the entire rec-
ing hours of January 26. he was

light or the
of Congress are singed, indicat-
for
Goudy would consider making
face for the university presss ex-
collection of the Library
of them, most of his drawings and
by a second
Goudv
contents were destroyed.
its
of the university asked whether
In the earlv morn-
were use-
all
In 1939
fire.
fire
efforts of
and the entire structure and
a trustee
dates
55
tender about was his memorial to
in 1936.
it
different
MNOPQRSTUV
the types
Of course,
from Pabst, and yet have the same

quality of freedom and spontaneity. Some years before this, as I have told on an earlier page, I had
hand-lettered for W. \V. Denslow the verses of
Mother Qoose, which Mr. Denslow had illustrated.
This letter was distinctive and unlike anything in
use in those days. I have also told how it attracted
the attention of the Inland Type Foundry of St.
Louis, who, without bothering to acquire rights of
horror of
reproduction, made it into type, and
named it "Hearst"! The main features of
horrors
that letter were the short ascenders and descenders
with high middles, that is, such lower-case letters as
must be
exaggeration of them. I remember also that the

foundry paid me Sioo. for the design, an unheard-of
figure for a type design in those days.
Of
Powell
Italic,
&
design a type for his advertising there.
considerable difficulty in preserving the subtle ins
and outs of
the time of cutting the Pabst
Mayer to become advertising

manager for Mandel Brothers, another large department store. Still type-minded, he asked if would
left
a great deal more,
were
lost.
coasts
few patterns for letters in the
raised
and magazines, along
and
in the
money
Middle êst
to help Goudy" out.
CHAPTER THREE
The Advertising Club in New ôrk
ume
appealed for contributions, and
by Typophiles.
there are boxes of notes from people
on Madison Avenue sending
Two
9393
Goudy
THE TYPES
he saw and did and sometimes de-
and ornaments used in printing

this booklet were all designed by Frederic W.
Goudy and all represent faces that were lost
drawings, patterns and matrices m the disastrous fire v,'hich totally destroyed Mr. Goudy's
tailed lists of things lost in the
Village Press at Marlborough, N.Y., in the early
weeks of the
His
fire.
letters re-
veal a resigned attitude. In
manv
he gives \-ivid descriptions of w hat
but his comments indicate
blcize,
he saw
2 6th,
no
that he regretted but felt
TRAJAN
A few vears
sonal remorse about.
to Bertha in
Evergreen Cemetery
in Chicago.
and
in
England.
editorial in the
9 3 9. The t^'pes are
Tribune on
1930
ing public
all
torv 1936
Bertham 1036
chine for
put
rest
at
it
its
Goudys
of his
The
Kaatskill
disposal for the
made him
sell his
stantly
1930
died.
many
books,
With
number of composing rooms throughout
he needed the money or simply
countiy% these t^'pes are gone forever.
some other
might destroy them
is
the
ison.
show of his work.
As would happen
so often in
his last years, the people
gested
new work
who sug-
to Goiidv after
the fire were Californians.
to set
down
files in
about him after he
New
Jersey,
s
on May
13.
but
has the emotion and
to most:
Goudy knew what he wanted

to do and he did it. Starting from
Above: "Lost Goudv Types,"
association with the students there,
scratch, late in life: self-taught,
broadside printed b\
who wanted
own
creating his own techniques, haunt-
Coggeshall
from which thev could learn
print-
ed by the spectre of want; he went
in
Howard
1941 and set in
Ullage Ao. 2
Opposite:
a t}pe of their
ing and composing, that led him
Goudy
to design the Scripps
The L ni-
italic faces.
versitv of California Press asked
him
Goudv
There are more eloquent ones
common
in
a large
the
even the exaggerations that are
But he took several years during
1946 the hbrarv put on
and
Rushmore
h.c.
not clear.
and
of the Golden Hind Press in Mad-
disaster
the 1940s arranging them,
Goudy "s debt."
Paid Bennett, by .Arthur Rushmore
the exception of small fonts in a limited
to the Library of Congress. \^Tiether
feared that
entire read-
than that written, presumably to
collection of per-
sonal records, and
"The
in Mr.
letters written
Qoud}' pRiaR 1937
eventually
13 summarizes
several collections are filled with
1929
Alediaeval
life.
fire
decide to
printing school and
May
those people he wrote to con-
Ciotibv
bought a matrix-engraving ma-
Aeif York Herald
said:
is
A sentence in the
He had thousands of friends
Goudy Newscyle 1921
Syracuse
later the Lniversity of
11. 1947.
and was buried next
what most
per-
Mav
home, of
of editorial pages in this countr}-
as a kind of natural act
it
at
He was memorialized in hundreds
morning of Januar)^
died in bed
a heart attack, on
still
answering mail he received within
Half-Century
1895-1945.
five-
Goudy was
vears later
of Type Design and Typography,
Lost GoudvTvpes
and ten-dollar donations.
dollar
account of his tvpes printed
his ideas about
roman and
His health remained
his
own sweet way and without
fuss or fanfare built a record of
achievement
in the
graphic arts
good through most of the years of
that will outlive the granite dedi-
Second Xôrld War and he
cated to conquering heroes. Books
the
design and types, and he deliv-
traveled west quite often, a couple
persist, ideas
ered the manuscript of Typologia
of times to see his sister in Ore-
and as long as civilized thought

continues much of it will be read
to
it
in
1940 and then worked on
the design of the book.
He
gon but mostly
then
revised The Alphabet and Ele-
bers)
in limited
in the characters that
horns in California.
and
Beginning
num-
and combined the two
corded
in a
sity
in
1943 Goudv
in his letters a
illnesses that kept
single volume, which the Lniver-
number
re-
of
him from work-
ing for weeks or even months.
of California Press published
Goudy drew
and which other men
organized by friends like the Grab-
ments of Lettering (both of which
had been issued
to events or talks
cannot be burned,
But he and
Emmons worked
to-
cut
throughout the world, unheeding.
have
set
and printed
He was
often in want, more often than
not because of his simple belief

that all
men were honest andfair.
to California to
of his t}"pe designs, and by the
He was no businessman, he did

not want to be. Hefound it easier
lecture in two different vears at
end of 1944 Goudv had also finished
to be
in 1942.
He
also
gether on a complete campilation
went
Scripps College, and
it
was
^riting
his
72
the elegant
little
two-vol-
a gentleman,
fortable.'^
and more com-
y:yi
CHAPTER FOUR
Goudv was a printer for more than
position in perspective, one has
fortv years, a t\"pographer longer
onlv to ask whether he ought to
than that: he had designed maga-
be compared with Lpdike.
zines
and book
among
contempo-
his
covers before he
raries, as a print-
had any clear
er,
notions of
private printers
ty-
or with a few
Lpdike
pography, and
since
his original art
who have far ex-
was lettering.
ceeded even that
His experience
cupations was
mans performance. And in

typography,
undoubtedly
would one com-
in all these oc-
his
to
critical
esthetics
and
Goud^
\Nith
Bnice Rogers or
judgments about
a type designer.
was not
lare
his later
with Dwiggins?
it
Could Goudy have been un-
for his parti-
aware of such comparisons and
During
uncommon
work as
his life
He
Below:
decorated
sans to extend their admiration
judgments? That
for his t}"pes to everything else he
was a ver\ smart
drawn by Goudy for The Door
business of
in the
did,
and some arguments against
his frvpes
and
his ideas about t)"pe
gence has
life.
is
not
likely.
man about the

And that intelli-
be taken into
to
ac-
count when one considers his
Door
resentment against those claims.
eventual decision to concentrate
tus
If
Goudv had chosen
to
little
make
his
on
t\"pe
designing to the virtual
Goudy
living only as a printer, a letterer.
exclusion of other work.
a designer of magazines or books,
alwavs assumed he could do any-
or a t^"pographer. he would not be
thing he wanted to, and his en-
remembered now. He was good
ergA'
enough
great age. If he
at all
those professions,
was indeed prodigious

had
felt
to a
strongly
good, but he
set
about his contributions to book
no standards for any of them:
his
design, printing, t^-pography, or
own humorous testimony about
even lettering, he would have
the indifference of printers to Ars
worked harder
sometimes
ver\-
Typographica
He became
movement
tells
the whole
a great force in the

to raise
In general.
stor%".
standards of
at
those tasks.
Goudy had
for a
sequence of pages and a
sharper sense of what
power rested on the acceptance of
to
was able
to use that
much
sharper eye for a good page than
printing and typography, but his
his t)-pes; he
show
is
required
off a stanza of poetr\ than
page of prose.
He was
a better
a larger general de-
designer of magazines than of
bate about standards. To put his
books, but even in the magazine
to
promote
74}
\^'all
Opposite: Title page o/Tlie
to
design owe more than a
letter
in the ^âll/rom
a prospec-
Goudy prepared for the edition. This marked the first use
of Kennerley
r..v-';v;-
THE DOOR
IN THE WALL
And
Other Stories
BY
HG -WELLS
ILLUSTRATED
WITH PHOTOGRAVURES FROM

PHOTOGRAPHS BY
ALVIN LANGDON COBURN
NEW YORK & LONDON

MITCHELL KENNERLEY
MCMXI
1".^
CHAPTER FOUR
Song.
PH
Chloris Farewell
^'
LL
why fhouid we
Pieafures fhorter than the
Could we which we
Beauty
like
day ?
nez-er can/)
Stretch our Ihes
delay
beyond
afhadow
their Jpan
flies.,
And our youth before us dies.

Or would youth., and beauty., /lay
and
away
Love hath
icings.,
LoTe hath
fwifter wings than time:
Change in
loie to
Gods, that
nez-er
Heai'n
All the
does climb
change their ftate.,
and
'ary oft their loie
Phyllis!
will
to this truth
hate.
we
o we
loie betwixt us two:
Let not you and I enrjuire.,
What
has been our pafl dejire
On what fhepherds you

9
format he was comfortable only

\dth the design of individual
sues; he
is-
had no eye for a design
It is
ironic that Mitchell
Goudy
nerley intended to start

off
on
Ken-
a career in the world of big
Above: Pages from the 1911
Edmund
lowed
\^ illiam
The titles,
Village Press edition of Songs
and \ erses Selected From the
haze /mil' d^
Morris.
initials,
tions are inspired
and decora-
and the pages
on \\hirh they appear are very
book publishing in 191 1 The re-ult
\ôrks of
was Goudv's rather sudden
rise to
Opposite: Gaudy's setting for
beautiful:
most striking conceptions were
fame as a t^-pe designer. As a piece
"Le Bonheur de ce monde," a
of Goudy is that they have a strength
advertisements (for which he also
of book design. The Door in the
sonnet by the sixteenth century-
that
did his best lettering), and his
Wall and Other Stories by H. G.
Ant uerp printer Chris toph
such deliberately
most impressive pieces of design
Xêlls,
Plant in
tions.
and printing are broadsides, not
nerley, is a fairly subtle produc-
unrelated to advertisements. His
tion.
interest in all those things declined
tions at least as clearly as
that
might serve
fifty-two or five
hundred and twent}

his
issues.
Among
rapidly after he was sixty,
when
he began to engrave his own matrices
and became the king of tN-pe.
done by Goudy
But
it
for
Ken-
Waller. Esq.
is
what
is
characteristic
rare in other
To be
examples of
artistic
produc-
sure, the individual
pages of the entire book are plea-
shows Goudy 's limita-
surable.
Goudy placed
body
ot
shows
tvpe about seven and a half by
It
compares favora-
nine inches on an eleven-by-four-
bly with the best
work of the crowd
teen-inch page with wider mar-
his strengths.
it
of designers and printers that
gin?
fol-(
[76]
^*l
1
at
the outride of the page and
BONHEUR
LE
DE CE MONDE
SONNET
Compofe par Chriftoph Plantin
A
Des
Voir une maifon commode, propre &
Un jardin
fruits,
peu de
Ni de
dettes,
amour,
train,
femme
Poffeder feul fans bruit une
N'avoir
odorans,
tapiffe, d'efpaliers
d'excellent vin,
belle,
peu
d'enfans,
fidele.
ni proces, ni querelle,
partage a faire avecque fes parens,
Se contenter de peu, n'efperer rien des Grands,
Regler tous
fes deffeins fur
Vivre avecque franchife
Conferver
jufte
modele.
& fans ambition,
S'adonner fans fcrupule a
Domter fes
un
la
devotion,
paffions, les rendre obeiffantes
I'efprit libre,
& le jugement fort,
Dire fon Chapelet en cultivant

C'eft attendre chez foi bien
fes entes,
doucement
la
"u*-^:^
-W.--/M
mort.
CHAPTER FOUR
Below and
opposite: Title
page and opening page of The

Alphabet
glance the
imagination to build on what he
pages suggest the framed look of
has seen, from beginning to end.
engravings in late Renaissance
Critics of
under the body;
at first
THE
Goudy may have wanted
volumes.
Goudy's tight packing
of tvpe, and those
who
think his
harmonize the pages of type
pages always look too dense, ought
with those that had photogravures
to have another look at these books.
made from photographs by Alvin

Langdon Coburn that were inter-
He opened up
to
them
was
FIFTEEN
INTERPRETATIVE DESIGNS
DRAWN AND ARRANGED WYTH
EXPLANATORY TEXT AND
a mistake. Virtually
everv page looks exactly like everv other, without any of the fine
more practiced or
variations a
if
one
is
Wall
chapter of notes preceding the

beautiful pages illustrating letters
in
provide
The Door
full
book
Its
in
alphabet.
to
that
to
accounts of the fifteen
NEW YORK
MITCHELL KENNERLEY
after page.
nerley type the book
is
as
of
on one page, and he certainlv

it
on
all
all
pages.
the explana-
before the alphabet illustrations,
he asked the reader to memorize
Ken-
good
all
torv information in one chapter
M CM XXII
for the
could not put
But bv placing
keep repeating themselves pages
As a display piece
He
could not repeat
rhythms
confined to the pages and
all
The Alphabet. Goudy had
appear on each of the pages of his
read right through.

are
the
reading only one
is
a difficult
is
is
different shapes of letters that
story at a time, but
the
is
not both-
The monotony
ersome
The one disappointment
BY
FREDERIC 'W- GOUDY
introduced to keep the eye from
is
well worth learning.
ILLUSTRATIONS
imaginative t^pogiâpher would have
tiring.
kind of grandeur. There
a lesson in leading here that
leaved throughout the book. If he

did. that
the pages and gave
much
too
as
too quickly.
And.
for
That face was
those who cannot remember, leafing
verv widely used for decades, and
back and forth from the alphabet
Goudv could
it
\sant.
advantage anvwhere. But
in
com-
of the
pelling attention to the tvpe the
signs are triumphant.
book
to
also invites a close look at
the printing
and the composition,
which are the most striking

tures of its manufacture.
not Goudy's.
fea-
They were
The compositor was
Bertha Goudy, and the printing
was done,
albeit
under Goudy's
Some
Renaissance books Goudy
to the notes
does not reallv appear to better
It is
enough
the sonneteer's place in the his-
make one wish Kennerley had

hired Goudv not for the Uells
book but
In the
is
"^^
tory of printing.
as a tribute to
for an antholog}' of poetn.
aller
so sure
printing,
Among
volume Goudy's hand
and
Goudy
his delight in vary-
ing the visual rhythms through-
book
out the
and
so evident that his
Goudy meant
it
typography and
it is
can be annoying.
studied for their types are masterpieces of typographical semiotics:

thev
make enormouslv complicated
material available on a page, and
a fine one.
the books of prose
designed. The Alphabet
available to the
memory from page
to page, with magisterial author-
Goudy had had
and Elements of Lettering are the
itv.
most
hardly
languages of those books he might
satisfactory.
That
is
Perhaps
if
the
supervision, bv the printers in the
inspiration might have gone for
surprising; in both he was deal-
have picked up hints from them
shop of Norman Munder
hundreds of pages without
ing, in a
way of his own choosing,
about how to approach the prob-
in Balti-
more.
tion.
The proper comparison
made
be
to
with The Door in the Wall.
purposes of design,
for the
is
Village Press edition of 5o7t^5
the
and
Verses Selected from the Works
Edmund
also
of
Waller, Esq., which was
produced
about that
in 1911.
little
Everything
volume of verse
Goudy chose an
classy.
and an
italic is
is
italic face,
exactly right for
This book
is
repeti-
with a problem that always gave
good example
of Goudy's printing.
As
it
him pleasure
should
how
volumes are fine examples of book
argues in different ways around
one
is
tempted
to
run fingers over
his illustrations of letters
typefaces.
it.
Indeed,
more fanciful in the design of some
among the Milage Press
he tended
productions, the books or pam-
pages
phlets of poetrv are superior to
illustrations too regularly
others.
genre
Goudy's masterpiece
is
a broadside of
all
to block off
but
on the whole he provWed easy
in this
"Le Bon-
Some
designers working
for large publishing houses have
since learned
handle
more about how
difficult
Goudy could have

imagined, but Goudy had some
efficientlv than
strange and charming notions of
ations that are worth study.
of Waller. Goudy's page de-
Christoph Plantin. Considering
lows the reader's
in a natural flow that al-
memorv and
^T^^fl^
to
information more
arrangement of tvpe
mation
78
ac-
design.
cess to fairlv complicated infor-
heur de ce monde." a sonnet by
and
He might have been
the civil, light, cavalier sensibility
both books
comes first
even before
The Alphabet.
Nonetheless, these two thin
The
to the eye,
in
to illustrate.
do, the tactile quality of the page
text he wrote for
lem he faced
Bv
the time he
in
came
such
situ-
to design
^cSCllJliabcc
Chapter
I.
What Letters Are
LETTER is a symbol, with a definite

shape ^ significance, indicating a single sound
or combination of sounds, and providing a
means, through grouping, for the

pression of words
that
is,
visible ex-
of thoughts.
Originally, letters were adaptations of natural
forms employed in picture-writing, but by a

process of evolution, [actually degradation,]
they have become arbitrary signs with Httle

resemblance to the symbols from which they are derived. These arbitrary
shapes have passed through their periods of uncertainty and change; they
have a long history and manifold associations they are classics, and should
not be tampered with, except within limits that just discretion may allow.
;
An ornamental form once found is repeated, the eye grows accustomed

to
it
and expects
its
recurrence
it
becomes established by
associated with fundamental ideas of Ufe

on, until finally
rial significance
origin and
its
meaning
of individual
letters
use;
it
may be
and nature and is handed on and
are, perhaps, lost. Just so, the
is
pictc
so deeply buried in obHvion that
and research would be necessary to resurrect

form or meaning an undertaking not essential here.
special study
their original
Language
itself,
as
an organized system, was of necessity slow in devel-
oping; the next steps, the approaches
toward a more or
less
phonetic
phabet, ^vere equally Hngering; for speech existed long before
covered that the
human voice
it
was
could be represented by symbols
tt.'^'-j
dis-
thus
[9]
T- *
al-
R in
the Phoenician was written like the

symbol for d [A ], the tail being introduced
later, [although not a universal pradice,} to
avoid confusion with D.
i^.
^ J^^,
GOUDY OUT OF TYPE
THE ROMAN CAPITAL

one of the Tripods
BEAUTY
IS THE VISIBLE
Thebes, both pradticaDy contemporar)' with
the Sigean fragment, read from
on a
pillar of
supported a
mocrates,
white marble, nme
[39]
to right only. The letters are cut
two feet wide, and eight
feet high,
bu^ or Slatue of Her-
whose name appears
<pM/OL\KO:Blt^l:roH.'
the text of the inscnptiooThe writ-
M^>1IA>l:viOTATEnM
ing Itself presents a specimen nearly

three thousand years old.
In the British
Museum there is a
brass signet, found near Rome, the
appearance of which indicates ver\'

great age.The signet probably was
/A>I.Z-0'702/AH:"l52ial
intended for stamping or printing
LABOR
Its
owner's signature on documents

FIG.
SIGE.\NTABI-ET,IU.USTRATIKG
12
that were wxitten on parchment or
BOUSTROPHEDON
other subânce used for receiving
CDGIKQ
wTiting.On
its
face,which
is
"t
I
about
of an
&
engraved
in
border line or rim.
[in reverse] are
relief within a
letters are capitals
"forum" CAPITALS BT F.W.G. [igil]
A N
AT
S L
O N~
Hennocrites. the son of Phanodicus.

1
Promon ton; and I h avc presented in
the Prytaneum a cup with a ftand and wine

strainer, as a
mch wide, letters of good pro-
portion
am
of th
two inches in length and four-fifths
ring, which ser\es as a handle, is

fia. 11
left
inches thick, which quite probably
EXPRESSION
OF MAN^S
PLEASURE IN
WZ
at
monument to Sigeans. If.then.
on any account
am
troubled.
go to the
my brethren ha
cretfled this monument for me
Sigeans, and .Vsopus.ind
attached to the back of the plate.The
huddled together with
little
punftuation, in the
usual ^'le of the old Roman inscriptions.TheyspeirticAECiLiHERMiAS.SN.,"or,as
we would print it today.'t.j.cAECiLi hermiae signum,"
which translated is,"The seal of Caius Julius Caecilius Hermias."Of
his
own Typologia
>ity
of California Pres? twenty years
later.
Goudv had
for the L niver-
lost
much
of his
instinct for that type of design
work.
How much
judge.
Goudy acknowledged
is
difficult to
Above: Pages from The Alphabet
and Elements of Lettering
he wrote about.
blv
the principal forms
easy referral.
Rfrom
Tlie
letter
the
reader inevita-
makes dog-ears
Opposite: Goudy's drawings of
of the
Alphabet
of the tv^jcs
sites for illustration
in
reading.
As with
il-
the
of
all
Goudys books,
most single pleasing page of

the title page: one
Typologia
is
University of California Old Style
can almost
feel his
which the book
t^'peface.
manager of
printed, are singularlv
and the
is
lustrating the designs for the
cooperation of Samuel Farquhar.

the press,
point out the flaws in the book he
pages for
The four pages
in
ill
is
placed.
designing
it.
That
enjovment
is
of his best cover and
L nfortunately.
true of
in
many
title
page de-
it is
also true
contributions of old collaborators
In fact, given his overall subject,
signs.
Goudv
a lifetime's observation about the
of some of his annoying ones. Tlie
Goudy should have
place where his personal enjoy-
are difficult to sort out.
was not a
man
rogatives, however, so
unfair to charge
Typologia
is
Goudy was
design of tv"pe,
to resign his preit
is
not
him \\ith the residts.
resisted the temptation to use that
ment
gives least pleasure in this
he had designed others that
book
is
face:
would have been much more
a lot of fun to read.
confident, and even
able.
There
is
one
bit
more unbuttoned than usual, when
tended entertainment
he wrote
however
it.
But the design is undis-
the
tinguished and there are places
printing, which
where Goudy did not choose good
will
[81
suit-
of unin-
in the book,
chapter on fine
text,
on the
first
page of the
where Goudv drew an
for the first
paragraph that
downright offensive; in
and shape
it
is
initial
is
size, color,
out of
harmony
very wise and
with evervthing else on the page.
quicklv teach the reader to
In general the smaller books
is
25^.
CHAPTER FOUR
Goudy designed and
themselves as versions of the same
good pro-
magazine, but they contain an
the \illage Press are
ductions, but
hard to think of
it is
anv one would choose to include
done by private presses

years.
gave
white paper
The most impres-
his
own
show
a chance to
types.
off
Note on Letter-Design and the

a tour de force
is
of illustrations of types and borders.
He
could do that sort ot
more
thing verv well with a

lar text. too. as
book
that
regu-
Birrell.
a fine display of the
is
Goudv Xewstyle typeface.

Manv broadsides issued from
the Milage Press through the years,
some of them meant to display

new t\-pefaces; some were poems,
some had
texts of
documents
the contents.
like
MORK
well-known
the Gettysburg
faithfully predicts
The production
and decorations,
pages and announcements,
and the
tinctive
are
ot
ÛJNT
Few publications of that
age that are so obviously
meant
to
DtMcs- fogusi%'a5rrr or cmjfobkw old sttle itau^

iiX)\XS3 EKDM THE 2" : -INCH VfOVt. FATTEEKS
trumpet the beauties of Art Nou-
magazines
later
phica and the
Ars
five
Typogra-
numbers of
pographica. The
Ty-
was an
latter
TYPOLOGIA
[86
1
occasional journal issued by the
bud
It IS
easil)
Goudy's
\'illage Press to display
ifae
agam iih
tfacip
DETAILS OF CONSTRUCTION
aside tcv a tew days and tbeo go
a Ircsh eye.
minor disotpaaCKS or-
m tbe gkm- ot craoon sfapw up plainly atm- and are

%am. as this tends to u^ten and stificn it. to kill
is
the
it
Z.COI30t TIXT. AKQ COCTIK. Mt

vmiMX
Mia KAU. nZTKAL LIMB MOW Rmwc tAUl laASAcm
TTAIK ^DCVAt.
IC
KM ooe
de-
better,
No mlc
sign
berance, indeed wild energy in
done, the result
to.
However
is
it
ful.
There
is
commanding
actress in
it
it.
a lot of the sly
and
grand old
spirit of a
seem
to have
numbers
in gencraJ the character
The
visual
rhythms are
Typologia
and a few of them are spectacular.
to
There are
it
a bad
far too
make them
are eloquent testimony to

ability to
ful,
and beautiful shape
enough
to
and other items are ingeniously

chosen and placed to leave the
make
hand are
in
some ways more
within
design world. In
had an
the politics of the

all
"Editor"-^
of them
his obiter dicta

jole.
Goudy
ôrk-hop"
the back in which he
(.-ould
at
^catter
and scold or
ca-
But otherwise he was usually
among other authors. In

Number One he had articles by
onlv one
bodv of printed material.

graphica produced under Goudy's
are uniform
opposite: Pages from
for a large
for the
Holbrook Jackson on the
dicative of his skills as an editor
announce
than as ^ designer. The article^
revival
of fine printing. Gertrude Bur-
in-
issues
The
JEdl
imagine a single, power-
The four numbers of ^rs Typo-
by-eight inch format.
scope in the type itself
"^""d
Goudy s
He
earlv issues in the four-and-a-half-
"
imitable. But they
imagination about magazines.
was entirely responsible
and *Tight
unusual features in these designs
his
that
^'yv^
my i..ti w\>.-'k
'ôt" the page A iittic diffcroKi in widdi o< stem a difmay be neasined only by a micianetcT mtcicv
w^ duage tbe color of a pnnied
pagi. attl 1 am of tbe optnion that the wiêd4or eciî is
a h be << a; (KM flMC Ml
tcxcace that
many
changed
The Chap-Book
mid
definite political statement to
interest.
was his work on setting and printing
'
magazine of more general
Goudv worked on magazine designs for more than forty years
it
dm
Capitals musi not be unnecessarily self- assemve. or they will
impression that the journal had a
for a
his first years in Chicago, but
c^cs
model
pographica makes
too grandly.
in
decenuniDg tbe lelan^T
edubi ted in types made ttocB thas I faegio witii ootain things
that (kawing begins.
abcady pretty well eSaUifihed. h IS
precise,
course, the very perfection of J\
many
role lot yeare.
wholes, not just collections of pages.
in the
covers for
ioc
my
been designed as
Goudy page
He had drawn
or lîta."aod with the dimoisi'^^ ci itxsc oiiwings already
and to do the
'
Above and
shows off
possiUe. has been
Jrawing. In
unpredictable, and inevitable. Ot
It
at the inoeieiil
ajthriace itisdifbcu!ialsoto>ua]i:.
makes
bad sense of the term.
can
dks" iod "ascenders" rbey are mtenJcpeodent, ahboo^

these Items may be indicated so<ncwhai bv the intended use
That, of course,
the perfect
6L slem. hairlioc. or seiif. nor for tbe relanve height
was
good. Except
issue, the
if
etc be given
frocn a lanje
humor make it thoroughly delight-
rondnwnd or blacker
more
own
content to his
for the first
<x aKXC oral, or tbe general effect more
ot
ncular design i well as
he had
bcancT in sKtn than some oee of tbecc or
with hairbnes Iigbtei or sexils smxêr. or tbe howb Rxmder.
spontaneity ol haadliBg that IS so dcsinblc. To do dits pn-
was bv Goudv, presumably he could
if
a shade
roughly
letter-
on his mind. In terms
tailor the
87]
have so many drawings* in the sasx ^cale oo hand that have

adually been nude into t)'pe thai it is a suaple maiiez to say
and aiivthing else
ing, readability,
tliat \sa-
by
nsfhhcd But! do noc think a design should be gone ower
agaip and
tvpes and often to promote his
arguments about design,
%li to
over tbcra
toolccd
ciation. Its combination of exu-
all its
Foa l^!Êasm of califossia old sttle itaiic

IfDVCEP nOH THE 2' . DJCB Ifc-OMC PATTERXS
DîiCKs-
TC ASO OTTOM toes BOttSVrT TWi TTIt MXn.
and above
ndudwjf
familiar are two
Much more
successful. Since everAthing in
places, restraint,
my
veau are as satisfying.
Goudy page is a broadside of 1915
An Appre-
iâdi
magazines
little
design. Tvpographica
borhood Playhouse
DXCD
gizhcrt
is dis-
Address. Probably the perfect
called Ellen Terry at the Neigh-
6l]
text
sometimes surprising, often
beautiful.
he did in Three
Essays by Augustine
the drawings
One, done in 1915.
Village Types,
entirely in
red and black boxed lettering on
in the last
booklets or leaflets that
Goudy
"BABES
work on the
usually done
THE STOKT OF ATtPE
TTPOtOGIA
[60
variety of conception,
Bradley's initial
covers
sive productions of the press, in

fact, are
immense
^'ill
work
in a display of the very best
hundred
=T3r
printed for
ford Rawlings on Aldus.
\^
illiam
Blades on the earlv schools of
82]
^*
Jif*;*'
.*,^-
STUDIES IN TYPE DESIGN
& TYPE MAKING
WITH COMMENTS ON THE INVENTION OF

TYPOGRAPHY THE FIRST TYPES
LEGIBILITY AND FINE
PRINTING
^
Frederic W. Goudy,
l.h.d., litt.d.
BERKELEY AND LOS ANGELES
UNIVERSITY OF CALIFORNIA PRESS
1940
CHAPTER FOUR
\."-r rr -'rr
and another by Charles Ricketts
The Inland Printer than for any
on woodcuts
other magazine, and
AN OCCASIONAL PAMPHLET
TREATING OF PRINTING- LETTERDESIGN -AND ALLIED ARTS
was the subject of the third num-
One of 1898 is a ven." messy affair
two
articles
by Goudy.
on handpress printing and "print-
knowing
one by Talbot Baines Reed on
num-
fashions in t^pographv. That
Garamond
type.
in the July
by Goudy, and
it is
his typefaces.
The endnote
tional
work of
stitute of
ond
Dow
the
on the educa-
American
Graphic Arts. The
was dedicated
issue
In-
notable for
some
some
ver}"
own
pretentious hu-
and
his sense of neatness
spare-
had improved markedlv. And
1901 issue he reached
a standard that set his
work apart
and remains striking now. That

issue has the
added
interest of a
monk
drawing of a
acting as a
is
in the center of the
stop because of a "serious illness."
cover and
is
probably Dwiggins's
and someone
first
completed the
else
work. Bertha was never to work

again. ^\ ithin a year she
was dead.
Visually Ars Tvpographica
is
published drawing.
\^liat
Goudy was
plicity.
Later he would return to
some
be one reason why printers
are orderly
it.
at the
The pages
are
learning in
The Inland Printer jobs was sim-
often too monumental. Tliat niav
ver}"
elaborate designs that
and beautiful,
fine decorative cover of
like the
The Chi-
magnificent, but thev resemble
cago Literary Club Yearbook,
great slabs of inscriptions. -\s often
1911-12.
happens when Goudy
good cover designs
sets out to
one finds
reader,
He had made some ver}for such dif-
ferent periodicals as Brentano's
Above: Typographica Ao. 2
oneself looking closely at the
Book Chat, an
Opposite: Ars Tvpographica,
composition and decoration
magazine, and Interior Decora-
Autumn 1934
Goudv was
first
goal
first.
not achieving his
own
signed covers,
first
for
tion.
for
readability.
from the early 1890s, Goudy de-
a remark-
the
scribe. It
to the
hand-
is
had to
to set the pages but
For more than tw enty-five years,
illustrations of engravings
and woodcuts and has
tells
sec-
graphic arts more widely conceived.

It is
seven of
Bertha had actually
it:
overwhelm the
and A.^.
set in
is
humor
mor. By 1900 Goudy's control,
and
obviouslv a tribute to his
bit of
time. Its
banner of the coat of arms
ness.
is
at the
inclusion of the price ridiculously
Goudys last issue was done many

years later, in the autumn of 1934.
time ignored
ent,
one relieving
that has its
begun
design in history and in the pres-
ments of stores
sion of the Plantin sonnet mag-
why he did
Goudy him?elf on hpe
by oversvorked advertising depart-
in the
wife. Virtually all the material
tA"pography.
might have been turned out
that
ber also contains the original ver-
nificently set in
THE VILLAGE PRESS AND

LETTER FOUNDERY
NEW YORK
go through them in order.
tive to
ing as an art." and a ver\
TYPOGRAPHICA
instruc-
it is
sixteenth centuries. T\"pographv
ber, with
east
and
in the fifteenth
books and
occasional literar}
Goudy also designed the covers
Kennerleys magazine. The Fo-
rum, and as late as August 1919,

he designed a cover for Art
and
Life. All these jobs are quite cred-
and they demonstrate
then for nianv kinds of magazines.
itable,
He proudly
Goudy had not lost, well into upper
presersed his early
book covers but made no
special
middle age. his
that
ability to learn,
claims for them, and they really
from himself as well
the
deserve none. Thev are pleasant
the third decade of this centur}'
articles
and, as w as characteristic of Goudys
would have been impossible
include a long one drawn from an
early work, notably uncluttered,
him
able Bruce Rogers design of an

illustrated
page in the style
eighteenth century.
Its
i)f
encyclopedia on the work of
il-
liam Bulmer and the Shakespeare

Press, one
from
a histon. of en-
Thomas Bewick and

followers, one by Edward
but they are very

period.
are
was an
his
and
title
pages.
of the
Some of the magazine covers
memorable. Designing them
graving on
Strange on decorative
much
art
II i()i.
probably
Goudy
make a living as a
of covers
at
been willing
that work.
all.
it
for
designer
unless he had
to dedicate his life to
Magazines were begin-
trial
ning to turn over the entire job of
He
design to their own people, w hether
covers for
in-house or in outside shops, and
learned by
hut he learned well.
made more
to
as others. In
{84}
fv '(> v-t-vu-
rsw
VOL
AUTUN4N.1934
araphiQ
FREDERIC W.GOUDY EDITOR
THE PRESS OF THE WOOLLY WHALE

NEW YORK CITY
RUME MB
Trice,
25 cents
THe INLAND PRINTCR COMPANY
CHICAGO AND
"hJEW^
YORK*
GOUDY OUT OF TYPE
Below: Advertisement for the

Peerless
^-^-.M
'
.,
Opposite: The Inland Printer.
Below:
Julv 1901
1917
V ,.,
,;
Motor Company-
T&T
Imprint, Winter
'
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';'
ji iiipiiitom^
i
^^
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THE PEERLESS
MOTOR CAR COMPANY
ANNOUNCES THATTiE NEW MODELS
FOR IQII WILL BE READY ON JULY 1ST
NINETEEN HUNDREDTEN-IN FOUR
AND SIX CYLINDER TOURING CARS
LIMOUSINE' LANDAULET'
PRINTED AND PUBLISHED BY TAYLOR & TAYLOR

404 MISSION STREET SAN FRANCISCO
CLOSE
$s
$i
t3
k;
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t:;
COUPLED 'PONY TONNEAU -AND

ROADSTER & FOUR CYUNDERTOWN
CAR IN LIMOUSINE & LANDAULET
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be more stately than warm, but
by him in the
becoming one of the most
they are surely as imposing as the
of Congress that would do credit
important commercial aspects of
doctors could have wanted them
to a
the publications.
to be.
times;
Goudy
was
liked best
was the
Goudv's
first
the chance to design a cover for
examples of
are simply lost.
the magazine published bv Tavlor
They
T& T
certainly exist
in the files of
demiminimalist of our own

gives Peerless all the blatant
it
without making the reader feel he
and the
and Taylor in San Francisco.
of the Library
attention the
in advertising,
it
files
design work was
challenge of one occasion. Given
earliest
is
somewhere,
newspapers
in
being drubbed into paving
tention.
some
company could want
The
lettering
haps, as fine as that
he kept no rec-
is
at-
not. per-
Goudy did
department store
for
Imprint, in the winter of 1917, he
library, but since
produced a knockout. Of course,
ord of payments or those records
ton in roughly the same era, but
w ere destroyed
is
that
publication was
printers,
made
for
and Goudy had some
teasing fun in the design of his

cover.
But he had
versatilitv. too.
He cannot have had much

est in the
inter-
content of The Annals
of Medical History, but he designed good

for
it
in
monumental covers
1917 and 1922; thev
mav
it
in
one of his
Filene's
fires,
is
no reason
to
it
it
tells
one of Goudv's types.
Altogether too much has been made
doubt the
testimony of his contemporaries,
by
however, that thev were notable
type,
,*, .-- .*- -*-
.*. ,.
,. ._
r.
critics
w ho have never even
much less designed it,
set
of the
of his late typefaces, as in the Universitv of California
Old
Style,
but bv now* students ought to be

able to
sit
tering for
back and look

what
it is,
at his let-
without preju-
dice.
I
am
how much one

bv tracking down all
not sure
would learn
of his advertising work.
few
verv good examples will immediately tell that he
and
had
a classical
traditionalist sensibilitv
from
the beginning and that he favored
type so overwhelming against
il-
lustration that his dedication to

letters
cannot be doubted.
And
now
and
order. If
effect of his expertise as a letterer
the few examples one finds
to see a later
example
on the shapes of his type designs.
of his lettering in advertising are
In fact, he overcame his
so superior as to suppress doubts
for their cleanliness
one wants
in Bos-
worth some patient studv for
what
becomes impossible to trace them.
There
-- --
,,;-
it-
UTiat
?g
$5
EASTQ3RD STREET- CLEVELAND -OHIO
the design of periodicals

self
IS
COMPANY
.
TTI
$f
SENT ON FÊQUEST
MOTOR
PEER.LESS
52
?S
of w hat his eye could do, there
is
Peerless automobile advertisement
first
fession too successfully in
87
'^î.
pro-
some
about his mastery.
CHAPTER FIVE
"We
have to
shall
set
new
stan-
little
behind him. His remark about
dards of aesthetics when photo-
photomechanical typesetting, and
mechanical typesetting replaces
his willingness to rethink esthet-
connec-
present meth-
ics in
ods," Goiidv
tion with
THE
systems, struck
ARTISTIC
world of print
told an inter\ie\ver for
PM
magazine
in
April 1935.
Go
11
FRIENDLINESS
d\
the remark.
nt the craft
and in
was
him.
against
For several centuries after the
MACHINES
vears before, in
seminars
The history
OF
several
lectures
in the
as distasteful.
volunteered
For
many
It
was significant
that
new
movable
first
t\
pes were first
used,
at
all
type
uni\ ersities. he
was made by
had been
hand
talk-
mg approvmgIv
of different
From
bv
method which
new
gave tvpe
technologies.
the beginning of his career
its
distinct appearance.
metal punch of each letter was
he had no fear of machines and
made bv
had resolutelv maintained
driven into a brass plate to
that so
punch
Once
cutter and then
long as a machine was used bv a
a matrix.
designer, compositor, or printer
matrix were carved or
as a tool
and nothing more,
a desirable instrument.
it
was
By the 1930s
filed
clean
and the impression was cut
to the
The compositor hand-set
through the two pre-
in a stick
and inserted
ma-
between
letters
good deal
for his defense of
chines in the production of
made from
hot metal poured into the matrix.
vious decades he had been abused

a
make
the walls of the
desired depth, ts-pe was
some of his peers were beginning

to agree, but
the type
bits of metal
and words
to get
t\'pe.
the line of t}"pe desired. Every-
At different times he had public-
thing was determined bv the judg-
Iv contradicted the
most respected
authorities, including
Rudolf Koch.
pamphlet
Bruce Rogers wrote
the eve.
type was
set, it
the press
in the '20s generally en-
later \^.
page of
was secured into
and the chase
was locked into the press; then
was operated bv hand.
The steam engine changed
dorsing Goudy's main arguments,
and
Once
the chase by quoins
Stanley Morison, and Daniel Berkeley Lpdike.
ment of
A. Dwiggins was to
that,
all
making machine-driven
enter the fray on his side. But
punches, mechanical t)"pesetting,
even his defenders were often a
and mechanical printing possible
88
Goudy working
with his
pantographic matrix-cutting
machine
^''>
-^
.'
'
.' ;--
i4.
?/.^:
*-
CHAPTER FIVE
about four centuries after Gutenberg.
useful to
It is
remember
tuallv all his successful t\"pes
old
faces
st\"le
were
not incidental.
is
insist that, since
most
Goudy was twentv" years

when the Monot)-pe machine
old
But he did
be-
of what people read was being
On the whole,
the
produced from the outset by ma-
advent of mechanical printing was
chines, the conscientious designer
not a great blessing. Esthetic stan-
had
dards declined precipitately in the
He
nineteenth century. T^^pefaces be-
books in hmited editions that were
came
entirelv
that
came
available.
increasingly bizarre, t^-pog-
raphv was
but forgotten, and
all
work with
to
the machines.
himself published scores of
handmade, but he knew
most printing could not be done
the qualitv of paper declined even
that luxuriously. His
more rapidly. Those were the con-
ditions that gave rise to the
Xîlliam Morris
ment of
move-
and
his
friends to restore order, clarity,
and beauty
in printing.
The more
thev and their successors studied

the old t^-pes
the
moral one. that the best people
in the craft ought to

in
be involved
making mass production
thetically better. In that sense
was an
not of
\^ illiam
marks about
es-
he
Behrens and
allv of Peter
Morris.
His sometimes incautious
and the old books,
more dissatisfied they became
argument was
re-
the necessity of mas-
with what was being produced.
tering the machiner}" rather than
Eventually Koch. Updike. Mori-
letting the
machinen' master the
others began to
user reveal a certain contempt for
sav that what was most needed in
people \\ho feared the effect of
design was a return to punch cut-
the machines. Tliat attitude, as
many
son, and
ting if t^ê
was ever to regain any-
thing of the indi^^duaht^' and character
some
it
had
in the beginning,
insisted
on a return
entire arrav of old
and
to the
methods of
producing books and making paper.
Their arguments were not un-
much
him
as anything he said, got
into trouble \rith his peers,
and sometimes
^^^th the
makers
of the machines, the printers, and

the foundnthirtv vears
\\ith
men. For more than
he had frequent fights
shop workers
at
American
and Lanston Mono-
founded and can be extended even
T%'pe Founders
further now. \^"ith the triumph of
tvpe about their execution of his
what Goudv called photomechani-
designs, fights that were only in-
cal tvpesetting. typefaces
increasingly
have been
denuded of individu-
by
tensified
his
own master}
of
machines they used. \^~hen he
the
comparison of even the
was surprised by modifications
best-made books now with the best
commercial productions of the
made in the letters of the first face

he made for Lanston. to fit them
1920s and '30s will quickly reveal
to the
how uniformity has made most

printing a dull affair. The rise of
onlv
alitv.
illiteracy is
wonder
is
machine, he learned not
how
to operate a
Monot^-pe
machine but how the entire mecha-
hardly surprising: the
nism was designed. ^Tien the
anyone reads at
Remington company asked him
that
all.
And the situation is worse in news-
to
papers and magazines. Designers
ers,
have resorted to startling arrange-
intricate study of that
ments
His notes indicate he understood
to
overcome the dullness
he
made
the
in great detail its
of the text.
Goudy was
design a face for
ven^ traditional in
the matter of estheti'-. That vir-
90}
t}"pewrit-
same kind of
machine.
complex
including the arcs

t\7)ing
its
action,
made by
the
am^ as they rose from thei^
Goudy
in his
workshop
iQ^
*/
/
*a
MaMMMMV
0f%
;-ti-.
CHAPTER FIVE
bed and struck the paper, the
ef-
ribbon on the impres-
fect of the
sion produced, and the problems
of arranging proper spacing be-
tween letters raised on bodies
that
were necessarily uniform in
size.
Not
made him
that all his study
any more welcome

than he was
men
tell
them
Remington
at the foundries;
supervisor told
his
at
him
that he
one
and
Goudy
did not need
to
liow to design type for
typewriters.
After 1925, of course, he also
used machinery, which had been

modified to his specifications, to
make
all
types.
And
his
it
own matrices and

was
for his critics to
fairly
make
common
his friend-
liness for
machines part of
strictures
on
their
his designs. In Ty-
pologia, as he looked back over
wrote that "the only
his career, he
impeccable designers are those who
have never designed a tvpe." So
much
for the critics.
argument
others, his
quoting
some
at
As
for the
worth
is
length:
Thepractice ofany craft should

he governed by
and I mean
common
sense,
here to refer to purely
technical considerations rather
than to speak of any aesthetic

qualities that are presented by
the work in hand.
mind
to
it,
You put your
you round your back
ity
of the product for which
to the
burden of inevitable mis-
employed, but not if
takes,
and sooner
m a ke m a ch
or later
you
it is
the use
of machine
thing bad
more often, even with long experience, variations occur, the re-
methods
X q/ The Colophon, a
Rudolf Koch, one of Germany's
because he did not possess the
in-
a surprise to the type-cutter. Of-
do not believe
outstanding type designers, wrote:
struments of precision available
ten the result can not be saved
today? As well return
and
of a machine or
it is
slow and painstaking methods
man-
tools that
n es of our sou Is
with the greatest care to
book collectors' quarterly, the late
ivhich
but which do not lessen the
that
helps to
it.
aid
your best with tools
user. I
WTiy continue Nicholas Jensons
make the
form of the punch exact, as much
circumscribed as he presents
is
of producing types
which were necessary
achieve the end desired. You do
hood of the
it
it
makes a
the evil use
of
In Part
'^The engraving
machine
is
seek-
ing to displace craftsmanship,
we must bring pressure
to
opposition." Theoretically I
chine minimizes labor which
in
necessary but which, in
itself, is
am
the
by another; often, though,
tion
of expectations,
"/;
also that,
can be said that unquestion-
always
punch must be replaced
remain, even though
Rudolf Koch wrote
some qualifications
to the
sult ofcounter-punching is
slow stagecoach far transporta-
agreement with his statement,
but Ifeel that
day
to the tal-
low dip for our lighting or
hear in
them. Used as a tool, the mais
and
in his
dom enough
the result.
to
if
it
it falls
can
short
one has free-
make good
use of
Such forced variations
merely painful and monotonous.
are necessary in relation to cer-
ably the character 0" the old good
can come, in the hands of an able
The most complicated mechani-
tain facts which he does not bring
types comes from the punch. This
punch-cutter, to a very beautiful
cal device
aids
into the picture. I cannot bring
is
the qual-
myself ta regard handicraft as 4p
ting: since
is
justifiable if
good design or improves
it
92
the plastic basis

it
is
of
type-cut-
impossible even
a^p-^vf
result."
Can
it
be that the beauti-
ful types of the past are due
to
THE ARTISTIC FRIENDLINESS OF MACHINES
Beloii. left:
Goudy
inspecting
the matrix-cutter under a microscope
Below, right: The matrix-cutter

grinder
ments made by the machines,

is
unlikely
if
that
not absurd. Goudy's
pattern-cutting machine, an elabo-
rated pantograph, was
him
in
made
Munich according
specifications. His
for
to his
comments on
make
it
in Tvpologia
it
would reproduce everv" accident
of the large patterns

his
it
clear that
made from
drawings with the kind of
precision one would expect from

the finest tools.
The matrix-en-
graving machine, also modeled on

a pantograph.
^^
as a modified
form
of the standard matrix engraver
made
developed from the models
by Lynn Boyd Benton. Tliese machines are no longer
commonly
examples
made, but one can
find
of them, and
worthwhile to
it
is
search one out to get
some insight
into the criticisms often
Goudvs
of
t^"pes.
A common
them
made
that
is
statement about
Goudy could never
produce a truly straight or angled
comer since his cutting tools w ere

rounded points. That evaluation
ignores a couple of things. First,
all t)-pes
not produced by driven
punches were made by methods

that slightly
changed the sharp
angles in any drawing or conception of the letters. Second. Goudy's
cutting heads were ground fine
am
produce matrices that
graving in Tvpologia will explain
and then reducing them photo-
\\ould have errors of not
anyone
graphicallv to a standard \\~pe size
than two thousandths of an inch.
who is patient and willing to run a

few simple tests. Goudy "s machines
and comparing them with the
Some
reduced his seven-and-a-half-inch
He ^^^ll quickly find that the shape
twents-five ten-thousandths of an
so deft in
dra\\"ings of letters, first to a tw o-
of the letters has nothing to do
inch
away the objections of the
and-a-half-inch metal pattern and
with the size of the dra\dngs. That
dard Monot\"pe matrices allowed
Koch was speaking more
particularly of his
own
achieve-
ments than of punch-cutting
in
general.
Goudv was seldom

flicking
enough
ri^
inclined to think that Pro-
fessor
ed from a good manuscript hand
on pattern making and matrix en-
mere accidents ofpunch-cutting?
the
method
then to the
rigid.
Too much has been
\\Titten
ven." well to
t\"pe size
he wanted.
An often repeated criticism of his
about the machinery' Goudv used
tA'pes is that his large
own manufacture of t\"pes

without much attempt to under-
did not reflect a good handwTit-
stand what he was doing and. as
and
in his
can
without any
far as
tempt
to duplicate his
order to
test
tell,
methods
at-
in
them. His chapters
ing so
simpleminded. perhaps, but
so was
much
of the criticism.
ground dowTi
bv anvones standards.
It is
often
that in a dav
Goudys own
His proof sheets, in
Anvone can
character or idiosvncrasies of the
it
by drawing ver\ large
letters de-
{93
scopic accuracy of the measure-
two
one can see the minute rounding
machines removed some of the
Given the micro-
to
L nder a strong microscope any-
tendency was accentu-
original designs.
up
stan-
hundredths of an inch.
of angles in
proposition for himself
w hen
a tolerance of error of
Suppose his dra%vings were good
drawings
to within tw ent\" or
suggested that in some way his
ated bv the machines.

test that
test is
hand they were based on.
more
of his cutting points were
as a lettering hand,
much
this
original
to
t^"pes.
fact, will show-
under a microscope. But
in faces
of less than tw enty points not even
an ordinary magnifving glass
will
CHAPTER
FI\'E
[94]
^j
.-i":-
f-i:
-
:>'
THE ARTISTIC FRIENDLINESS OF MACHINES
Above: Pencil rubbing and

tracing of Friar capital
Right: Goudy cutting a letter

pattern
Opposite: Pattern for Friar
capital
M, dated
October
9,
1937. singed by the fire at
Deepdene
reveal the slight impression of the
bv him and defensible.
By now
tiny ball point of the engraver,
and
it
takes a very clear eye in
bright light to guess at
in the
it
larger sizes.
As
to the criticism
machine
that
his
tools gave too clean a
dard
is
would have loved
the question of a stan-
not academic. In the digit-
aroimd
lav
long enough to see these develop-
the
ments.
to stav
He was sixty-one years old
ized tvpe generation, designers will
when he began performing
have to deal philosophicallv.
steps for
in
terms of esthetics, with that question.
Many typographers now
sume that
as-
making
his
the
own
all
types;
down some ground rules for

new generation of everyman
type designers that would guide
them along the
Goudy
For
lines of tradition.
had, in Sir Jacob Ep-
he was seventy when he teased the
stein's phrase,
PM interviewer w ith
and he w as a most
his
remark
very public brains,

traditional
man.
resolutions of over two-
about esthetics and photographic
At the moment his traditionalism
true that a comparison of his
thousand lines per inch cause the
methods of type making; when he
is
types with those of the earliest de-
unacceptable raggedness on the
was eighty he was
But
edges of his types,
finish to the
is
much
cleaner
edges of digitized type to disap-
new arguments
along the edges of
letters.
pear and that
ing with
signers will show a

finish
it
But he wanted them
to,
and
it is
possible to pro-
duce clean new faces
easily.
But
statement:
The important point
is
to
know
especially to see that the facility
cutters based
cutting tools, they will realize that
had much hesitation, one would
of the machine does not tend
same
they will need tremendouslv greater
guess, about taking on the
Too many com-
resolutions to get the kind of pre-
puter companies and making their
punch
shows
that
digitized type
and trouble
ago. Eventually they will.
to look at good, old
and
eventually computer programs that
them with the
and
allow instant type designing will
ones, or they
force every typographer to face
modern
have not bothered to decide what
the
the standard ought to be. Goudy's
was constantly discussing.
least definitelv stated
in the inn.
faces
And
manuscript hands and compare

earliest types
of the road; he had
was producing fifty years
cision he
is at
own
determined would not even have
form
mentators have not taken the time
standard
romance
his
clear
then consider the size of Goudv's
writing of the scribes, on which
then with
enough from
is
and the machine work begin, and
pixels that
leanliness of line.
aged every new^ voyager
A man that cranky and
with him. In fact, the best hand-
Cer-
would have encour-
where the handwork should end
thev think about the size of the
their designs,
new methods. Like
that he
interest
think most readers would agree
the earliest
for experiment-
vantes, he preferred the
if
writing
still
what ought to be emphasized.
is
on
the
chines.
Some
ments on
of Goudv's pronounceesthetic standards are
amateurish, but they kept improv-
reason to think he
more readable
com-
screen and on the printing ma-
same esthetic questions Goudy

There
little
95
usurp or displace any of the func-
tion.
of more importance than

any quibble over the method of
itself
its
thought, since
beauty
and
Goudv now would
to
to
is
translation into the vehicle of
wav
of creation and representaThe appearance of the work
tions
ing right into his ninth decade.

find a
to
is
its
legibility or
determined by the eye
not by the
produce the
means employed
type.
V
;.
.-
'
V''
AA
AA
Kennerley Old Style
Goudy Old
Gaudy Modern
Style
Garamont
Goudy Newstyle
Saks Goudy
Mediaeval
Italian
Old Style
Franciscan
iVvy
CHAPTER
An annotated list
ts"pes follows,
but
Goudy
it
useful
particular
com-
some
to supply
of all the
tlioiight
SIX
make connections between

Goudv's work and manv other bodto
of lettering, writing, and tvpe
ies
ments on some
At
of the faces. In
li\i-t
confessional,
is
in that
want
readers to knoAv
mv
hope
so.
But the conver-
NINE
FACES
part, this section
sation
have
tried to enter in-
to this
book
is
com-
one which has
ments on the
been interrupt-
what
FAMILIE
types in the an-
notated
list
ed for so long
and
that
some
dis-
elsewhere mean
co n n e c t o n s
- to me.
must be expect-
am
at least.
not a pro-
ed.
fessional design-
er or printer
and
have loimd
through the years that the vocabulary of tvpe design
is
madden-
ingly imprecise, even confused.
am not
the person to define terms
for the profession
and
am not even
certain that definition at this time

useful.
The comments
on the nine faces
here, along witli
would be
those on
Deepdene
ning of the book,
will provide,
my own ideas without twisting
Goudys
notions of esthetics.
The tvpefaces
are
that
among Goudvs
is
an argument
think
best. In fact,
I
work
is
great varietv in Goudv"s
obvious, and that varietv
is
the
cause of a good deal of the rejec-
work among contem-
tion of his
porary designers. Tliat their

jection
is
wrong
is
of this book. Here

invite
some
the
re-
argument
would simply
reflection
craftsman was up
on what the
to.
would
Kennerlex
This 1911 design had a fine debut
in
England. Sir Bernard Xewdi-
gate called
in this section
are not necessarily those
is
begin-
at the
hope, terms of reference to clarify
That there
like
the
first
it
Caslon. and Stanlev
Morison said
face, that
the best face since
is
was "an original
it
to sav. its essential
characteristics are not
drawn from
to avoid. It is best left to printers
existing sources, at least as far as
and designers. But the types
the
dis-
roman
is
concerned." Those
cussed here should allow a reader
were among the restrained com-
make connections with other

Goudy faces in a way that will let
him network connections among
ments. Such enthusiasm can be
to
the whole
If
bodv of Goudv's work.
he does, he should then be able
{97
explained bv reference to the t^ês

the previous generation of English
designers had been making
Morris. Ricketts, Cobden-Sander-
>
CHAPTER
SIX
RON
son, talker,
and others. Next
to
them, or next to most of the Amer-
from the same
ican faces
era. in-
chiding those bv Bertram Grosven-
some
of the thinner stems and
Below: Shoivings of Kennerley
ment
that the
roman lower
Kennerley is more open, more class-
uniform
is right.
mannered;
dances. In fact,
but that
only in hindsight.
is
is
a definite fin
The individual
siecle tone.
it is
almost
dances too much,
it
Also evident
do not
it
letters
easily reveal its source, but
this tvpe at least as
much
as the Renaissance tvpe designers
do.
Goudy
ley
says he based Kenner-
on the canon
illustrated in
size of Fell t^'pes
Horace Hart's Notes
on a Century of Typography at
the University Press, Oxford."' Tliat
volume, produced
dred and
fifty
in only
copies,
is
one hun-
not often
seen now, but the Fell types can
be found
many
in
of the standard
books on typefaces. They were

designed
in
France
in the seven-
teenth century and bought bv an
agent of Bishop John Fell of Ox-
Abraham van Dvck.
ford from
the son of the great tvpe cutter

Christoffel van Dyke, in the Neth-
erlands.
that
too
said later
Typographica No. 5
the time
from many sources. Kennerley

clearly
t\-pes
than it does to
to the earliest
Fell,
but trying
anv one of them
to trace
Kennerley Old Style, from
fruitless,
and Bullen's remark
Tvpographica No. 5
it
was
Jenson"
it
to
"spoilt
is
that
ridicu-
is
lous.
The roman had manv
he worked from a copy
tors,
That
it still
an interesting suggestion.
old books
imita-
but some characteristics make
of Nicolas Jenson's 1470 Eusebius.
Goudy was devouring
owes more
Opposite, below: Passage set in
when Goudy was designing
is
and picked up hints
tively
easily identifiable
the rela-
high ascenders and short
it
darker face than Ken-
sinks into the page and
draws the eye down into

nerley has
IT IS OUR DUTY TO CORred; the errors of books
and to
Kennerley Old Style
THIS IS THE APOLOGY

of John Froben for his typo'
Kennerley Bold
((PLATO BOUGHT SOME

hoohs hyPhilolalus for loomince.
Kennerley Old Style Italic
Fell is a
nerley;
italic is
types, from
case
at
Aubrev Beardslev lurks
there.
around
and the
Henrv Lewis Bullen
this face
de
Old Style
they look decorative. Updike's judg-
roll
less
Ken-
nerley
tends to
ical,
letters in
hairlines are so attenuated that
Goodhue and Morris Benton.
or
Above: Capital
it.
Ken-
more rounded and open
characters, and, while the contrast
between thick and thin
lines
is
much less pronounced than in Fell,
RECTORS OF THE HIQH

est
dbility,among them Jno.
Kennerle]^ Bold Italic
98
NINE FACES.
MAW FAMILIES
MWE
descenders, the spur on the G. the
odd
of
tails
R and
Q. the bold
broad stroke on the very w ide N.

In fact,
ties
some of those characteris-
make
useful a comparison of
Kennerlev not with
Fell
or Jenson
bar in N. the
stroke of the
left
Kennerley
in wliich tlie up-
\\
meets the down-
stroke of the right one
at
point, the position of the
Q. and shapes of
mid-
and has marked pen
qualities.
The
capitals are based
on lettering in a
Renaissance painting. For decades
Goudv rejected the
but in 1944 he admitted he had
rounding of such lower case
never been able to find the paint-
all
turv faces, but
lerman Zapf redesigned some sizes
upright
Goudv
models
Italian
is
can Type Founders in 1915. Tlie
were fifteenth-cen-
on
ha\e telling echoes in Kennerlev.
made seven
years after the roman.
tail
E and F
italic,
for
it
b and
His mixing of
said
it
was bv Holbein,
ing again and could not prove
but with the seventeenth-century
face inaccurately called Janson by
of Jenson for the Stempel Foundn.
principles results in a stiffening
was
modern
referring to the original matrices,
of the letters in lines of type.
Renaissance painters looked to ar-
foundries, especially in
upper case roman
letters as
letters. In
which Stempel ow ns. and one can
the Janson face, the distinctive
spend some amusing hours com-
Gaudy Old
paring his Janson with Kennerlev.
Tliis face
the
-hape
of
M.
the
sweep of the cross
h.
a Holbein.
in their pictures,
was designed for Ameri-
FACE was designed in 191
for use in a
sumptuous presentation of ten short stories

by H. G. Wells published by Mitchell Kenner-
and
that
would
first
appeared
Henn
Lew-
Bullen was ecstatic about
is
for lettering
have appealed to Goudv. \^Tien

the t\pe
^HIS
hardly matters.
models
chitectural
Style
It
it
it.
and Lpdike thought the capitals

had "an agreeable freedom, and
thev
compose
into strong lines of
dignified letter."
The lower case
Goudv had
ley e>'^vas afterward offered to printers generally.
hoped
it
A modest showing in Typographica A[o.
monv
with classic capitals which
two
of the
then available brought response at once

from printers, and the demand, in spite of its piration by certain unscrupulous machine men, today
is as great as ever. It is an original face; that is to say,
its essential characteristics are not dravv^n from existing sources. One writer says "Kennerley besides
being beautiful in detail, is beautiful in mass; and
the letters set into words seem to lock into one another which is common in the letter of early printers, but is rare in modern type.''
sizês
would be "in perfect
har-
harked back to a period some
hundreds of years earlier"
owes
most to Nicolas Jenson, but manv

other influences are evident, including Bodoni.
Goudy complained
that "the short descenders

I
which
allowed American Tvpe Found-
ers to inveigle
g.
j.
me into giving p. q.
though only under
and y
protest" marred the face.
The
tA'pe is
style as that
in
Goudvs
pression
is
not entirely old
term was understood

time.
The
of faces
overall im-
made
before
the late seventeenth centur). but

tliere
are
capitals
manv
variations. Tlie
and lower case work well
together.
The
capitals have small
serifs that gain visible strength
99}
CHAPTER
SIX
FredericW Goudy
Goudy Old Style roman
FredericW Goudy
Kennerlt'V roman
Vr^dzricW. Goudy
Goudx Old
Style italic
FredericW. Goudy
Kennerlev
italic
Opposite: Page from ''The
Goudy
Family," booklet published by
American Type Founders and

in
Goudy Old
set
Style
100
.'
'
'
r'f
MANY
NINE FACES.
from bracketing and further

diness from the fact
like the letters of this font;
?tur-
HIS admirable type eiesi^n shows
case
and together upper and lower
by more acute serifs.

an early Venetian roman design, modernized
sion that the lower case letters are
anchored to the capitals and are

trving to pull awav: there
is
tautness in lines of this type that
escaped Goudy
in his earlier de-
signs.
If
one
how
curious about
is
It is
for present-day purposes, with a quality of its
much Goudy learned in a few years.

a comparison of the Goudv Old
Style roman with Kennerlev will
treely
be enlightening. Thev are broth-
analysis.
ers,
but the vounger one has
all
the advantages.
Goudy Old
Style
italic,
long before Kennerlev
much
made
italic,
is
closer to sixteenth-century
c^r
The light
readability.
through each character to define the
which
it is
ccîiposed.
The Gouciy
may
you
It
please
will; but, like all
it
that
it
handsome in the mass"
that "in spite of the fact
on the whole, a con-
is.
densed fount, the weight
is
so nicely
judged and the thicks and thins

so cleverly adjusted that the
fect
is
ef-
and open."
rather generous
Strictly speaking, the designa-
shines
"modern"
tion
lines of
inaccurate.
is
Goudy acknowledged,
As
has fea-
it
family invites
tures of old style faces. There are
We think
some instructive comparisons that
at a glance.
who
those
He found
and said
Goudv Modem roman
can be made.
proud of their
prc^ducts, we prefer the purchaser who buys with
appreciative understanding rather than the one
who buys simply upon the impulse of admiration
it
it
"strikingly
own
the open
look Stanley Morison praised

for in the Fleuron.
which may perhaps best be expressed by the word

"flowing." While the Goudy design is classically
correct, the appearance of restraint and stiffness is
missing. All its refinements make for the prime
requisite of clarity
as they are stately.
Modern does have
the
as well as
case in sentences give the impres-
warm
For a type w ith such deep color,
by more
contrast of main and minor lines
find in
as
types of the early Italian
printers, yet enlivened
Roman senators,
muffins become
classic
Renaissance mod-
would
els,
roman
The lower
more rounded than one
is
with the
a strong affinity
though the\ w ere search-
ing for surer tooting.
in
them these characters are like raga-
vertical
tliat
strokes look brush made, not quite

straight, as
FAMILIES
are
should be looked
at
next to
some
other popular faces of the era.
such as \ ale and Morris's Golden.
Next
noblv erect
to the
Goudy
models than the Kennerley. but.
Modern
even though the letters are nar-
romanesque
rower than the roman letters of
the side-by-side comparison will
Old
Style, they, like those of the
Kennerlev
tendency
italic,
haps.
It
it
is
believe the
tive italic in
Goudvs
round characters.
to
Goudv claimed
letter...
reveal
modern
"an original
distinc-
first
times." Per-
was different from anv
available for
some generations and
was widely used and copied.
It is
lutely no part: nor did I ever re-
ceive
any compensation for
sprang free from
almost that of the
obviously thought verv highlv of
tectural rigidity that
it:
the letters
such books) and
a new character was
himself displayed
Title." To permit
a larger
"Q" was
form which
irritates
me mightily.
lar for seven decades.
enthal.
in 1918.
pany developed Goudy Bold, Extra
bers of the American Institute of
a com-
Graphic Arts, noted that
"Goudy Fam-
used more than anv other
ily" but with which I
had
abso-
is
To
see
it
as
it
it
was
and
it
to study that jour-
could do. But the None-
hues Merrvmount
arcliitectiu-al
press; the
tvpe
and upright
it
suggests pillars as
against this face
a reader
who
wants education about the look
words on a page should get
book
collection
in
of
to a
and see
it.
tvpe. a verv
Goodhue tvpe is so thick
The Everson volume
done
Modern next
made for L pdike's
some
great pieces of printing
manv good
one in Bertram Grosvenor Good-
ing
rare
was used bv two
to
appearances of Goudv Modern.
one of the
One
as letters.
other exer-
have fovmd useful in quiet-
pages of
of
it
mv
with
o\\n prejudices
is
to
some
compare
of Robert
Estiennes celebrated sixteenthcentui'v ones.
Goudvs roman
ters in this t^-pe
classical as
most of those Estienne
used. \e\ the face has a ver)
anvone who does not especially
look in comparison.
let-
look as open and
Everson's pages are a rebuke to
101
it
a kind of archi-
ting a page of Goudy
is
free. \\Tiat
one can have some fun put-
fact,
cise
definitive
looks
turii-of-the-century types had. In
and Cypress" are the
face.
2.
is
much
mem-
\ear awards voted on by
bination called the
Ars Typographica No.
anv centurv. and
the
American Type Founders ComItalics, to form
majestically
Golden sprung
such Shakespeare and "Granite
Joseph Blum-
Books of
it
nal for a notion of w hat he thought
who sur\ eyed the first fifty
vears of the Best
C\press."" Goudy
in
this face
signs, verv successfuUv.
and
good idea
Ever-
at \^ illiam
"Goudy
has remained remarkablv popu-
and
two other None-
son"s "Granite
promoted, along with Goudv's de-
Bold,
in
it
developed which was named
made bold versions of it that A.TF.
From the parent design the
he used
thereby increasing the weight of
that effect
Goudv Modern
works of Shakespeare (Mevnell
type body
Goudv Modern
Goudy Modern, designed
significant:
achieved.
ing the small capitals to a height
a celebration of the design of Goudv
is
is
like
redesigned at the foundry to a
account
Francis Mevnells
Sir
to crouch:
how
reveal a lot about
Nonesuch edition of the complete
Goudy made.
Goudv"s
at
seems
it
use of my name. Also, by enlarg-
face without kern, the
Old Style. Morris Benton of A.TF.
look
this
certainly one of the finest italics
American Type Founders made
very great printers, one ought to
the \ale type appears so
modern
CHAPTER
SIX
RUBBINGS FROM THE ROCK

POEMS GATHERED FROM HIS STONEMASON YEARS WHEN SUBMISSION
TO THE SPIRIT OF GRANITE IN THE BUILDING OF HOUSE TOWER 5. WALL
FOCUSED HIS IMAGINATION 5^ GAVE MASSIVE PERMANENCE TO HIS VERSE
THE LIME KILN PRESS THE UNIVERSITY OF CALIFORNIA AT SANTA CRU^
ANNO DOMINI MCMLXXV
RANITE
6^
CYPRESS ROBINSON JEFFERS
5c
Above: Title-page of William
Eversons 1975 edition of ''Gran-
and Cypress " set

Modern
ite
in
Gaudy
Opposite: Settings of Goudy
Modern roman and
italic, from
Typographica No. 5
102
V-
^,./-*.- -*
Tf
NINE FACES.
MANY
FAMILIES
Modern Mr. Goudy has taken for his

GOUDY
IN
model a letter used by the French engravers of the

1 8th century for the captions to their engravings. He
Goudy Modern
THE SPIRIT ofQoudy Modefn Italic is in the difection

offteedonij hut with consistency. It has a decided quality
of elegance that
Goudy Modern
pared with two of GoiidvV other

t\"pes
Klaxon and Goethe. Klax-
on was an advertising face done a

few years earlier for the
the car horns,
lated even
and
is
it
Modern
if
it
it.
more beautiful.
is re-
in-
it
Goiuh
in
ed on
come
it
more,
face
If Goudv
it
Limited Edi-
engraving used as the frontispiece
quires constant adjustment
next
for Alfred Pollard's Fine Books.
eye
essential fault of his
in the
tions Club's Frankenstein
Goudy Modern
ing depicts a scene from Ovid.
had not become so
The Goethe
was used
not only see an interesting family
popular that he did not dare
draw
it
clearly a
Goudv made
made
ity in
anyone who looks at pages of it
That eighteenth-century engrav-
the kinds of changes one suspects
he woidd have
he savs. bv the caption of a French
think
will
more closely to the much
spired. In Goethe.
and
to pages of
Goethe tvpe. which
later
Modern. Goudy Open was inspired,
on working on the Goethe.
maker of
Goudv Modern
forerimner.
own. It has no prototype.
Italic
should definitely be com-
It
is entirely its
re-
much
is
history but will wish
the outstanding tvpe in his
The caption does not have
worked more on the Goethe. His

intention, he said, was to
Goethe darker than
it
is.
letters of the
Goudy obviously took from
make
Manv
its
fact, the lettering
am not
all
it
in-
the letters (in
of the caption
very different from
sure that a
so
is
Goudy Mod-
deeper color would not improve
ern in most respects). In any case.
it.
Goudy
The
fits
italic
ver\ well with the
owes only a
The letterforms had something
Goudv Modern
of
little
to
of a "modern "look: but
roman. but
it.
and
said of the caption:
in
an
tempt to give a quality of
is re-
and legibility which
at-
inter-
"mod-
strangely reticent
Goudv Open
like
the
letter.
about Goudv Modern.
Perhaps too
ancestor derives in part from

I
it.
Goudv was
re-
of the
and focus and constitutes
Garamont
not models for
lightness, but
the
Bodoni's types which
spiration for a look in a typeface,
its
its
all
alphabet in
superiority to
people think
had work-
might have be-
Goudv had
there with greyness." a qual-
Init lie diil
a lot.
much
has been writ-
ten about this type ever since

first
it
appeared. Stanley Morison.
who had persuaded the English

Monotype Company to produce
its own version of Claude Garamond's tA3)e and disliked Goudy s
terribly,
wrote Lpdike that he
assumed Goudy had simply
entire canon. But. unfortunately,
markably original altogether. To
est
he designed
mv
eve the lower case letters on
ern" types of Bodoni lacked. I
produced the
the committee in Dresden that
the whole are wider than an italic
bravely increased ( unlike Bodoni
end of F. A. Duprat's Histoire de
was planning the Goethe bicen-
ought to be. but
and his school)
tennial,
it
at the invitation
and shortly
after
it
of
was
very good on a page.
submitted Germany was trans-
formed into
Hitler's
Third Reich.
Once that change happened,

was
little
interest in
getting a type
Goudv had
there
Germany
in
from Goudv. and
little
incentive to go
this type looks
really
tually
an afterthought.
It is
ac-
Goudy Open w ith the w hite
spaces
filled in.
About
that face,
Goudy's account suggests another

comparison
to
the weight
of the
hairlines, bracketed the serifs
Oddlv enough. Goudv Modern

is
the
be made \uth Goudv
slightly,
and
my
carried
curves
In fact, they
way I gave strength to the

letters constructively and avoided
au
at the
de
AT
the four-
of Claudin"s His-
Tmpnmerie en France
et
son's guess
Xll
Siecle, so Mori-
was close enough.
"'mere
Goudv's supporters at the time
lines fretted here
caused considerable irritation in
the appearance in print
103
came from
volume edition
toire
jumble of heavy
found
Tmprimerie Imperiale de France.
more generously toward the stems.

In this
letters
re-
of a
'
yi.
CHAPTER
SIX
Monotype Caramon t #248
SPQR
SPQR
SPQR
SPQR
SPQR
When
a n-pe design
is
good,
it is
individual letter of the alphabet
but because there
is a
feeling of
not because each

is
perfect in
form
unbroken harmony
and rhythm that runs through the whole design,

each letter to everv other and to all.
MonotYpe Garamond #648
Intertxpe
Ludloic
When
a type
design
is
good,
but because there
a feeling
is
not because each
it is
is
perfect in
form
of unbroken harmony

each
letter to every
other and to
all.
Garamond
When
a type design
is
good,
it is
but because there
not because each

is
perfect in
is
form
harmony

all.
Garamond
Linotype Garamond
When
type design
is
good,
but because there
is
nor because each
ir is
a feeling of
is
perfect in
form
unbroken harmony
and rhythm rhat runs through rhe whole design,

each letter to everv orher and to
all.
#3
When
a r}pe design
is
good,
it is
but because there
is
a feeling of
not because each

is
perfect in form
unbroken harmony

each
104
letter to
every other and to
all.
MANY
NINE FACES,
FAMILIES
was
the world of printers by writing
GARAMONT, DRAWN
extravagant appraisals of the face,
Goudy for
the Lanston Monotype Ma-
variations
which, thcv claimed, showed
kinds of interesting Goudyesque
by Frederic W.
is
on the Garamond. One
of the people this outpouring

tated was
adapted from
irri-
as drawn by
the result
or genius on
my
me
of inspiration
part, but uas
merely the result of an attempt
types cut by Claude
MOND circa
and
the form
mond"
15 40, which are
to
of the "Gara-
spirit
letter. I
made no attempt
eliminate the mannerisms or
deficiencies
of
his
famous
realizing that they
the originals of the ''old

face*' school.
to
reproduce as nearly as possible
Gara-
His capitals
type,
came not by
to be the
work
his crude
very difficult
some remark-
with, but
able books have been set in

is
it.
It
close fitting, but in this case not
even that characteristic quite

isfies
sat-
Goudy's requirement for read-
Some
abilitv.
of the letters do not
lose their eccentric character
when
thev are set in words and lines.

well with other
at
it
make it tend to disappear among other letters: the roman

lower case w has a peculiarh Roman
trying
to
is
out of
case k remains incongruous no
about as exact as
roman
char-
so striking that one has
admire the accuracy of Goudy's
eye.
is
cutting matrices.
similaritv of the
acters
that
place in such a face; and the low er
certainlv justified in
a cojn.
form
inscription
matter how
And the italic, except for slight
variations in such letters as
1,
i,
an admirably correct ren-
is
it
placed
among
its
fellow letters.
At
freehand drawing could achieve.
The
upper or low er
oddities
Garamont
when thev were
fights
the Lan-
Company, who kept
He was
fit
lines that
Goudy had many
to correct the
to supply inclined capitals
It is
case: the lower case g has hair-
ston
first
presents.
it
of tools ofprecision and
calling
AMOND is said
to
primarily in the pr(jb-
letters in either the
In fact,
Gar-
lems
is
rewards study, the
punch-cutter's handling, to his lack
with the shop workers
reward
it
The q does not
are less square and the serifs
earlier Venetian types
was trving to achieve in his mod-
intention, but rather through the
materials....
are more bracketed than the
Goudy Neu'style
Goudy was attached to this type,
and it explains much of what he
ern faces. If
Goudy:
Its final form
uas not
chine Co.,
all
listed as publisher.
its first
issue in 1921,
Goudy
provided more than twenty
alter-
native forms of various letters for

the
roman
font.
He
wrote several
accounts of the origins of these

characters, appealing to the notion, fairlv
common
in the early
Above: Passage announcing
and
Garamont from Typographica
dering of the face displayed in
part of the century, that either
No. 5
Garamond's Caracteresde 1
spelling or writing should be re-
Opposite: Settings offive
Garamond.
Goudv designed
Garamont
the
'Lniver-
formed
site.
letter-
press versions of
f, is
Monotype
is
The long popularity of this face

something of a mystery. The
version
made by English Mono-
type at Morison's suggestion
is
superior type on the page.
cor-
It
make
how words
same
clear to everyone
that look or
in English
ratelv
sound the
might be accu-
pronounced by
a reader
unfamiliar with English orthographv.
Somehow,
either the shape
rects inconsistencies of the Gara-
of letters or the spellings of words
mond
would make clear
in a
composed
wav
in
that allows
it
to
be
much more readable
pages than Goudy's version.
The name Goudv gave this face,
to a reader the
proper sound of the \\ord or
its
proper meaning.
Goudy adopted
system sug-
instead of d,
gested by the English academic
was the Latin form of the name
poet Robert Bridges. Bridges sug-
without a case ending, the form
gested using letters of different
used in books in which Garamond
shapes to indicate different pro-
with the terminal
to
105
.^^
CHAPTER
THE
and
commerce of books comforts me
my age
in
me of a troublesome weight
6c delivers me at all hours from company
solitude
of idleness,
that
SIX
and
dislike;
it
it
eases
blunts the point of griefs,
Left:
Opposite: Page from 'Îtalian
Old Style," booklet designed by

Bruce Rogers and published by
the
To divert myself from a troublesome fancy, 'tis to run to my Books; they presently fix me to
them, and drive the other out of my thoughts; and do
of the soul.
ness.
nunciations.
ferent letter
to
Thus Goudy had dif-
it,
Old Style
Italian
even though he thought
even then that there were prob-
Knowledgeable people have nearly
and g as
The method went on
lems with a few of the
come
in gee
taken with the type did
not use these odd characters, and
letters.
Eventually Oxford persuaded him

to set the
Lectern Bible in his
blows over this face.
admirers and
detractors are
its
do not say
tors
merely that
and Rogers
is
it
is
it
a bad type,
not as good as
same
sa\\,
and
that
conferred about Newstyle and
others in the
and made some changes,
agreed on modifications that Rogers
Bruce Rogers's Centaur
wanted to make. Several years later
it
Lanston Monotype issued the face
admirers have claimed that
when Goudy
he dropped
all
the alternative
characters.
Newstyle does have the
testi-
still
called
Goudy
Bible,
which
Its
many and vociferous. The detrac-
own
Centaur tvpe. \^Tien Goudy was

eighty, however, he
to
recut the
eventually,
entire font
style for
forms to indicate how
and on. Even printers who were

initially
same kind-
the
never travel without Books, either in peace or
pronounce g as
in against.
me with
has been vastly overpraised. The
other things
is
style
it
is
among
one of the best
and
a slightlv redesigned version of
The Grab-
Goudy Newstyle, done by Rogers
made of a Renaissance face for use in modern times.
set a
hundred pages of
and Sol Hess of the Lanston com-
Goudy
their edition of
W hitman's Leaves
mony
of
some
t\-pographers in
horns had
great printers
its
favor.
pany
for Rogers's
World
crit-
have said he kept designing
some letters narrower and modified
the
same type over and over in
reset the
half a dozen lower case characters
quest.
in this face. It is a
and as many capitals. These changes
one
magnificent book and a great trib-
were enough
to give
Rogers the
ute to the skill of the Grabhorns.
compact look
that he
wanted and
Goudy's fondness for the type
was shared by Bruce Rogers. In
when
Indeed, some
ics
work they had done and
fact,
lot of his life
made
general Rogers and Hess
book
in that search.
Bible. In
of Grass in Lutetia when they first

saw Newstyle; they destroyed the
entire
versions ever
did spend a
the Oxford University
to tone
down
which
much more
isfying Bible to look at than the
nally intended to use
origi-
Goudy New-
Lectern ^ble.
in
at
is
fine type,
old styles avail-
from foolproof for
some very
it
has been used
beautiful books.
Goudy's book
Half- Century
of Type Design and Typography

to see how good it can look.
sat-
famous Lectern Bible, he
is
far
it
his
curious reader should have a look
stunning as it appears in the World

Bible,
It is
compositor, but
is
Press asked Rogers to design the
eye
-of the best
able.
the appearance of
Newstyle somewhat. The result
my
To
%
106
One
of
its
Lanston Monotype Machine
Company. 1924
not mutiny to see that I have only recourse to them for

want of other more real, natural, and lively conven-
always receive
Goudy
No. 5
are not extreme, and have not got an entire possession
iences; they
set in
Newstyle,from Tvpographica
they
if
Passage
admirers was Rog-
EARLY PRINTERS
IN
THE CITY OF
VENICE
Fro/7i
Dibdins Bibliographical Decameron
THE FOL'KTH DAY

LYSANDER
CSPEAKERS:
Lysander.
Philemon.
Lisardo.
jT IS now
Almansa.
CCOMMENTS:
John dc Spira, parent
This point, I submit,
is now triumphantly eslabUshed by the
existing privilege of
the Senate of X'enice,
granted to John de
Spira, of the date of
trans-
mitted to Denis, by
the
Abbe
Morelli,
&
appears in the Suffra-
inhabitaret, exerceret-
graphical arc in
omnium commenda-
what other
tione impressit Epis-
nobile opus Plinii de

Xaturali Historia in
tolas CiceroniSy et
maxiino numero,
pulcherrima
be?
LISARDO
familia tota sua
que dictam artem librorum imprimendorum iamque summa
et
littera-
rum forma, pergitque
PHILEMON
September the iSth,

1469. A copy of this
was
may
libe-
cime to notice the

rise &: early progress ot che cypo-
readily givz a guess in

city this
cum coniuge
ris et
really
one other great

kalian city: and
you will perhaps
of the Venetian press.]
pri\'ilege
ubi
I
J
quotidie alia prxclara \-olumina impri-
^^^.^^,
LYSAXDER
([Twice accurately spoken! 'The
nurse (as Philemon the other day
not inaptly expressed it) often thousand useful bi elegant arcs, the cen-
mere; adeo ut industria et \-irtute huius

hominis, multisque
praeclarisque voluminibus, et quidem
pervili pretio, locu-
pro Johanne de
pletabitur. Et quonitral
European
commerce,
marc
of
Spira Prirao 'Uene'
am tale inventum xche cicy boch of Jenson and of Titiarum Typographo,
tatis nostrê peculiare
Viennce, 1794, S\'0.
et proprium, priscis
cian, ic was reserved for Venice co
of the former. It is
illis omnino incoggive a diflerenc curn, and co adopc
too important not to
nitum, omni fa vote
a purer style, in che produccions of
occupy some twenty
et ope augendum atics hrsl princers.' All hail co chee,
lines in this present
que fovendum est, eiVenede
Spira,
parenc
of
che
John
note. Levoici!'i469,
demque Magistro Jo'^
cian press
I see chee yonder, in
Die iS Septerabris.
anni, qui magno urInducia est in banc
getur sumptu faminostram inclytam civitatcm ars imprilia, et artihcum mercede, proestanda sit
giuvii
mendi
magis celebrior et
operam studium et in-
libros, in diesque
frequentior
fiet,
per
genium Magistri loannis de

teris aliis
materia, ut alacrius perse veret, artemque

suami imprim.endi potius celebriorem red-
Spira, qui ce-
dere,
urbibus banc nostram prxelegit,
dum
quam
desinere, habeat;
quemadmo-
in aliis exercitiis sustentandis, et
'sc.^'
EARLY PRINTERS IN VENICE

muko quidem
solicum
ties of Cicero, the first effort of his press,
est; infrascripti Domini Consiliarii ad huthere are two editions
in the same year
milem et devotam supplicacionem prse1469; which have been particularly dedicli Magislri Joannis cerminarunc, termiscribed in the work last referred to, vol. i.
nandoque decrcverunt, ut per aiinos quinp. 321 -3. The Blenheim and the McCarthy
que proxime futures nemo omnino sit,
libraries each contain a copy of one of these
qui velit, possit, valeat, audeatve exercere
impressions UPON vellum. The P/m}',
dictam artem impriupon paper, is in Lord
imagination,
pale,
emaciated,
and
mendorum librorum
Spencer's collection:
in hac inclyta civitate
breathless living only just to witbut how can I con\'ey
Venetiarum et dislrican adequate idea of
ness the completion of thy Cicero
tosuo, nisi ipse Magisand P/m)) to clasp thy barely com- its condition and amter Joannes. Et toties,
menced St. Autin CO thy breasT:, plitude ? Think, enquoties aliquis inventhusiaîc collector, of
and
to
expire
in
the
embrace!
See,
tus fuerit, qui contra
the uncontaminated
inferioribus, fieri
he dies in the arms of his brother,
hanc terminationem
et decretum ausus fuerit exercere ipsam artem et imprimere li-
p.
Fur translation see

12..
conducted the business with great
peaks,6^ you will have
and success for many subsequent years, and who has proved
himself to be worthy of themantle
which his brother ca^ upon him.
an idea of the size and

colour of the Spencerian copy of the fir^
Vindelin; who, on
credit
condem-
bros; multari
his decease,
snow upon the higher of the Apennine
narique debeat, et amittere instrumenta

et libros impressos. Et
sub hac eadem poena
nemo debeat, aut possit tales libros in aliis terris et locis impressos vendendi causa
hue portare,'
Angelus Qradenico.
Bertuccius Contarcno
Angelus ZJcnerio.
Jacobus Mauroceno.
'Consiliarii.
Franciscus Dandulo.
(TThis document is curious on many accounts. It informs us, if we were not already informed by his own colophons, that
I
de Spira printed the EpiStlcs of Cicero be-
fore the Pliny
and,
what
is
rather strange,
that he had a five 'years patent or privilege
How
2.
The
record copy of
the monopoly granted

to John o}
Spire bears
on Its margin the indorsement: 'A'ullius

eU vigoris quia obiit
magiUer
et
auctor.'
According
press in 1470,
and continued,
for
many suc-
cessive years, a popular printer at
Was
Venice?
to
of this surprising vol-
ume
is
quite perfect.
have carefully examined it with that of

the earliest and latest specimens of Jenson's press, and it 'beats them all hollow
Yet remember, Spira-loving reader, that
the Imperial library at Vienna contains a
copy of this very first Pliny UPON vellum! Who, that hath drank deeply and
freely at the fountain-head of BibliomaI
!'
nia,
would not make a pilgrimage
to such
a shrine?
however be observed that, generally speaking, the Pliny of 1469 is by no

means a very rare book, (see the B. S. vol. \i.
p. 253-6,) notwithstanding, from the col([Let
it
ophon, only one hundred copies of it appear to have been struck oft and these
within the short space of three months!-^
The knowing
will
remember
that there
the privilege granted to I. de Spira

only conditionally
if he should so long
no Greek letters introduced; but that

the Greek passages are rendered by means
live?^There is no accounting for the rival

press of Jenson upon any other ground.
As to the date of 1461 in the Decor Fuellarum, that point is now at rest it being,
of
the
colophons, the sizes of
John's editions ucre
Pliny, 1 00 copies; FamiliarLctters,ist edition, 100 copies; 2nd
edition, 600 copies.
3.
for exclusive printing at "Venice !

came it then to pass that Jenson opened his
Fliny ! The press- work
beyond
all
further reasonable doubt, an
error for the date of 1471. See the authorities
Spenceriand,
116-118. Of the Familiar Epis-
referred to in the Bibl.
vol. iv. p.
are
Roman
types.
([Vindelin de Spira, as Lysander above

properly intimates, carried on the business
which
lished.
had successfully estabThe matchless collection of Lord
his brother
Spencer contains, I believe, all Vindelin's

known works of the date of 1470, with
the exception of the Priscian; of which,
MANY
NINE FACES.
Below:
Avenue
"5aA\s Fifth
FAMILIES
"
broadside, 1934
Opposite: Page from 'Îtalian
Old Style"
who said he thought
ers.
it
showed
roman
the influence of the
fine type for advertising,
letter
is
Saks
of tlie Renaissance master Beniharii
Ratdoh. That
Fred W.
designed especialK' for Saks b\
a lot of w hat he
it
book
faces, but
vio-
it
lates all
kinds of norms for those
tvpes.
think
manv
who
people
have been very severe about the
Goud^ He has not attempted an\ radr
But. as usual.
this
had learned from working for manv
THIS IS thtJDil showmo of a new t\pc face
saving something about his fidelface.
has in
It
vears on
rehed on Jenson. and Rogers was
to that
/Kvcnuc
not an unamhig-
is
uous remark. Goudy had said he
ity
Fifth
one.
and
Saks have forgotten what
was
it
Goudys borrowings were

type
eral. Ratdolt"s
manv
in
not
meant
lit-
eal
illustrated
is
some
of the standard books on
and anvone
the history of tvpe.
it
down
next to not only
Antique, which was cut
The
earlier, in 1919.
five
vears
similarities
between Goudy Antique and Rat-
on
dolt are evident

Italian
of the indi\'ieûal characters will
without
their kin
Jensons
of 1470.
Old Style looks
deeper and
because
it
"The individual
full
its
more
fits
he
made
all
the hairlines light.
all
capitals are
this font.
the stems hea\"y and
bv
The roman
far the best part of
Thev have
a suggestion
of the classical without being monu-
loss of legibilit)'.
color
is
closely.
and powerfid.
are verv graceful
deep color
Overall, the face has
This IS Mr. Qoiuiys nmety^second typeface and
without seeming as bold as
has been
named Saks^Qoudy.
ally
is.
letters
more upstanding appearance on
stouter, partly
he was so often
annoyed with Bodoni for doing
Both of the old types have a
the page. Italian
much what
prettv
These ddiicd lines show the desion of the itc ihc.
and both Jensons and Ratdolts
type.
by doing
effect of brilliance
tlie
But there are differences between

it
roman Goudy produced
mental, and in the large sizes they
a definite
t\"pe
for.
In the
sight.
Old Style has
relation to
but
which contribute to its no\'el effei^t in

mass, and at the same time add a deco"
rative touch entireK in harmon\ with
Ital-
Old Stvle but also Goudv
ian
tradition,
he found to present unusual features
interested in a comparison should

set
departures from good
and
How
printers.
who owns
could anyone
a copv resist framing
and mounting
it?
At the time
it
terrific
show of the debut, with
partv and an exhibit at the National Arts
Club and reception>

in several
Manhattan
letters are quite
was issued, the display could be
and dinners
and round." Goudy wrote, "and
had free from Lanston. but there
hotels, as well as private recep-
number
of contemporary
Goudy. The store bought
If
you look closely
vou
it
re-
at the
how much
will realize
ink they lay on a page, but
when
vou glance
seem
at
the |)age they
<iniplv striking, not impressively
dark.
Goudv was provokingly hyperbolical in his own appraisal of this

tvpe. "1 believe that Saks Goudy
with their close fitting give an im-
are a
pression of liLxuriousness combined
accounts of its being sold in book-
pages of advertisements in news-
is
with legibilitv. simplicitv. and dig-
stores as the
prime demonstra-
papers and magazines set in Saks
made, or can make." he wrote,
Goudy to announce that from then
"and
on the type would be the Saks
best italics
signature.
know
he was right.
nity." .\bout that
Rogers used
Italian
tion of Rogers's art.
The
Old Style
along wth his Centaur in the Grolier

Society's edition of the
Champ
italic
face
ing. Its color
and
is
is
not so satisfy-
not as uniform,
pages of
derful effect. But the locus classi-
ply too wide to be a
cus for this type
and
the displav
sheet Rogers designed for the Lan-
ston
first
Monotype Company w hen

issued the
t^-pe.
it
Based on
ent
make
that variation tends to
Fleury of Geoffroy Tors to won-
is
tions for
it
it
distracting.
makes
it is
open and
good
to the
sim-
roman. Also,
of annoyance.
It
is
quite close,
some mid-
actually, to italics of
mentary and other theological
sLxteenth-centun Florentine print-
treatises of the
reflect a
Renaissance that
manuscript tradition
ceding into
Roman
re-
times, with
different sizes of letters set in
wavs
emphases
sur-
to give differing
rounding a central
text,
it
is
great instruction for compositors
who.
seems
me,
a type as
that the italic

I
of no one
with that judgment, and
him
size
and. after
frustrating trials,
engraved a
She
a bar of gold of
roughlv the right
some
brass.
Goudy
agree
doubt
Goudv ever thought anyone would.

The
font
italic in this
Goudv had returned
it
one of the
who would
graving matrices
he told her
have ever
have ever done.''
ing mostlv for
in.
is
asked what material he was en-
later sent
pages of texts of biblical com-
the
him at Deepdene and
was gold instead of
rolling to the point
\^lien
manager of
the advertising
store visited
italic,
an indiffer-
at best
companion
It is
Goudy loved the hoopla.
good
as
its
is
interest-
indication that
to his earlier
fascination with Art Xouveau.
It
The bowls of
a,
is
quite upright.
b. d.
and p are verv open
italic face.
But
it
is
for
an
in the vertical
Saks then pre-
lines of the lower case letters that
pated in their types the whole
sented the gold matrix to the \assar
one sees immediately the Art Nou-
Baroque
College library in a big ceremony.
veau
ers
it
to
antici-
style.
Critics of
Saks Goudy
Vilien Saks Fifth
duced
saying that
Avenue
this face in 1934.
it
intro-
made
{
all
in
it.
Goudy
are fond of
his types are adver-
tising faces.
That
true, but he
knew how
109
is
obviously not
,.'
*^
to
make
effect. In fact that
same bend-
found
in the
roman. ^Tien roman and
italic
ing of vertical lines
is
turn up on the same page so does

a hint of a fin
de siecle smile. All
CHAPTER
SIX
To me it looks factitious, and Goudy
GOUDY MQJDIHQVHi;
JDrawings begun Hug. t g
H.
much when
said as
"in
6 pt. ftnished 3ept.
its
lower case,
he wrote that
borrows the
[it]
freedom of the scribes pen of the
15,1930
Renaissance;
its capitals.
more
.are
or less composites of monastic
NQW TYPQ
is
here presented, which, judged by
manuscript and Lombardic painted

forms."
pragmatic standards, may not meet the approval of those
Franciscan
is
name
tlie
bv Edwin Grabhorn
who demand
critics
any
in their types the elimination of
given
to the rede-
signed and recut Aries face
Goudy
did in 1926 for Spencer Kellogg's
atavistic tendency. Quite obviously it
cannot be judged fair/
Aries Press. That face was based
on the Subiaco type designed by
the advertising compositor or the job printer,nor must
ly by
Emerv talker and

for St.
el]
unassuming
legibility
be made
its first criterion.
?lt one
that
made the wriring charming
cessful reproduftion in types.
Franciscan for his edition of The
Spanish Occupation of California, a
defy completely sue /
Goudy Medieval
pen/hands since they are more or
won
the highest
in the Fiftv Best
Books of
hv the American Institute

Graphic Arts
ol
in 1934.
The Franciscan,
as well as the
much more open than

Subiaco and much more angular.
Aries,
to the
composites of mon^
less
that
the Year competition conducted
presents
owe less
book
honors
a face that in its lower case borrows the freedom of the pen
of the Renaissance. Its capitals however,
John Hornby's Ashen-
dene Press. Grabhorn used the
rime books were cnrirely written out by hand, but the qual/
iries
Cocker-
S. C.
It is
is
closer to a true black face, in
the bold perhaps even a true fraktin;
ms.& painted I,ombardic forms. The
asric
but without the shattered and torn
designer hopes
look of most frakturs.
Some
nevertheless, that his capitals will be found in accord with
attention to the black
face tvpes will reward a student.
Thev teach one some

in all, there
is
more than
a hint in
work,
Hi^HBHCHDb
even of the work he did as a letterer.
HLHMHNHOf
Saks Goudv of
It
makes
liis
earlier
a connection
his occupations. This
which what the
and ought
is
between
a case in
critics say is true
to be taken as tribute.
HVHWHXHYl-
OCODOEOeC
come back. The
class, in
Goudy's
case, includes those he called text
Such
types.
faces were popular
shapes of letters that roman faces
do not. qualities
that are impor-
lor a long
time with printers and
tant for designers to appreciate.
designers,
who thought
they gave
For anyone with a sense of humor
a medieval, or black letter, ap-
about the motions of the hand
pearance to a page. In part, that
holding a pen, Goudy's later Tory
desire was a hangover from the
Text makes a good comi)arison

with Mediaeval and Franciscan.
Top: '"Goudy Mediaeval,''
long love of Gothic architecture
Mediaeval was made in 1930 and
broadside, 1930
in
Franciscan in 1932, and the only
Above: Setting of Franciscan,
reasons not justified by historical
of its making," and
reason for taking them up together,
1932
scholarship, that architectural taste
but
was associated with
it
at all, is to
remind people of
Opposite: Page from
"Good
class of typeface that has fallen
King Wenceslas," showing first
out of use. Faces of this kind were
use of Franciscan, 1932
important for about
and
it
fiftv
would not be surprising
see them, or
some form
Europe and
letter,
this country.
For
a dark, black
to
of them.
He said
I
he "enjoyed every minute

I
believe liim.
wouldn't want to have to
or design a page using
it. It
set
was
inspired by the lettres batdrde in
or fraktur. look in type.
Goudy describeJ^Mediaeval
vears,
and the
qualities of handwriting
Mediaeval and Franciscan
or
essential
as
the Grolier edition of Ton's
Champ
"one of my most original designs."
Fleury.
He claimed it was based on a twelfthcenturv' German manuscript hand.
anvone with a sense of humor about
110
\< u.
WiT..
,xr,
And
that
anything ought to
is
see.
book
that
GOOD
KING WGNCeSLA^S
H Carol by
Dr. ]ohn
Mason Ncalc
GOOD
KingWcnccs/
Jaslook'dout
'on the feast of

gtephen,
When the snow
lay
Deep, and
and even.
erisp,
Bri^htlv shone the
round about,
moon
that nio;ht.
Though the frost was cruel.

When a poor man eame in sight
Gath'rin^ winter
fuel.
I*
CHAPTER SEVEN
wonder how manv designers or
printers
now could turn a fine com-
methods and make people rethink

the tradition in terms of
pliment from another art and hope
sults,
made
he had
re-
its
not a few ene-
be under-
mies on all sides.
stood by others
Jones was really
to
in
his profes-
sion.
At the cere-
mony
sponsored
ETROSPECTIVE:
trying to point
WAS HE
OR
only sensible
by the American Institute of
Graphic Arts in
1921 for the

presentation of
its
gold medal
was taking the
stand:
He want-
ed designers
and printers
HE?
to lose the es-
nologiesbut not
thetic standards
"Fred Goudy
that
neyer did any
the
harm
earliest
to typog-
ers,
Hippocratic oath. The principle
used to be
drummed
not in the
Greek of
into doctors
its
common
guage of science
the turn of the
at
century. Prinuuu non
harm
thing
Goudy is remembered
as a type designer.
manship more
the walls
as learned as
it
hurt.
It is
traditionalist,
would
still
at that
significant
He used his con-
effectiyely than
else in his age.
He was not
some of his contem-
poraries and not as original in
more
argument, but his writing and
the tribute of a
and
necessary to
compliment, but of
tickled
in suryey-
siderable celebrity to stimulate
operating rooms. Tliere was a barb
it
is
it
accomplishments.
anyone
kind Goudy liked;
But
some other
of medical schools and eyen in
than
type
debate about design and crafts-
not to do any
is
Rightly,
recognize
lan-
nocere
was painted on
in Jones's
work of the
and publishers.
ing his work,
author but
in Latin, still the
first
informed
designers, print-
ele-
gant compliment comes from the
the
to
WASNT
Jones said
raphy ." Tliat
Goudy
use the new tecl>
to Goudy, George
\^.
out that
time
lecturing were by no
means unin-
formed or unsophisticated. His
it
haye had great force.
repeated suggestion that the old
What Goudy had fought for

for many years in his writing and
else
lecturing was precisely the pres-
with
eryation of the long tradition of
American audiences. He was
type design and type making. But
couraging designers and printers
because he tried to extract the
to think of
heart of the crafts
from
traditional
masters were people he or anyone
now might
is
a yery
sit
down and
talk
canny argument
to
en-
good design as some-
thing essentially modern, eyen as
112
>
Goudy, drawn by Alexander

Stern,
1938
I!
'i^^wt?
^nii!^
is
CHAPTER SEVEN
Below: Goudy, scratchboard

portrait by Charles E. Pont
Opposite: Goudy, linoleumblock print by Frank Heger
it
was
the fifteenth century,
in
as a privileged or learned
and not
art.
His defense of new technologies
and
his unfailing curiosity
about them were part of his overall
argument, and his insistence
that the great designers of the past
would have used those
techiaolo-
had had them was an
gies if they
encouragement not
to
throw over
make
old traditions but to
the
best of them. In fact, one aspect
of
Goudy 's own method
de-
in
signing seems peculiarly important now, as
computer technology
approaches making every designer

of a page his
own type designer
the freehand drawing of letters.
The entire history of letters springs

from the hand, and Goudy's
minders
re-
that our perception of
them as beautiful and useful, even

as understandable, springs from
our knowledge of them as having
begun with writing and drawing

is
Drawing letters
wise.
become
types
is
that are to
fundamental
to
understanding their human dimensions and their place in the history of

is
human
precisely
expression, and
when technology
comes most advanced
it
be-
that an
individual's mastery of the under-
lying craft
is
crucial to preserving
the art.
That
raises the further ques-
how much the modern

designer has to know about type
tion of
and printing, and

clear
think
it
is
from Goudy's dedication
to
tradition what his answer

be.
He was a printer before
would
he de-
signed types, and he came to master
every step not only in making

types but in printing.
He would
have been suspicious of someone
who would try to

who did not know
design a type
the traditional
methods of printing, who did not
know
the effect
and quality of
type that makes an impression on
114
RETROSPECTIVE: WÂS HE OR WASN'T HE^
from
off-
probablv even of someone
who
a page as distinguished
set,
know how
did not
best of the Renaissance designs.
Among Goudv designs that one

and which have
sees used often,
a chisel affects
the shapes of letters in stone. But
been eloquentlv appreciated by
behind
designers.
those things
all
movement of
That
letters.
it
and
me that
Text are two whose charms
hand making
And
fundamental.
main mysterious
to
re-
me. Goudy
himself had serious reser\"ations
use compasses and rulers,
about both, hut then he also had
to
to reduce pleasing shapes to
faces that are clearly inferior.
an important example now.
the other hand, far too
Beautv springs from the whole
human
imagining
being or
it
high opinions of some of his
vers'
geometric or mathematical formulas, is
Goudy Hea\y and Goudy
Goudy"s refus-
seems
al to
is
the
the
is
said
to
Goudy never took
It is
italic
surely one of
the best italics available
his teaching
is
accompany George
Jones's roman.
mains unsprung.
little
now about the Venezia
made
he
re-
On
and
is
in
widelv used in England.
role casuallv. despite all his ef-
fact verv
forts to entertain. .\nd in any re\"iew
In any fair accounting, that de-
of his work one has to give
him
great credit for Ars Typographica.
Some
Title
books, remain
impressive contributions to the

literature of design.
But
in that
ness to produce too
Even some of
many
composition of this
faces.
his friends noted
with annoyance his fascination in
of history and criticism for Ameri-
ber one hundred in his
of de-
yond any
can designers that was a
signs,
spiration.
that
It is
no discredit
him
became something quite
it
different in other
left
to
hands once he
off being editor; even he could
not do ever} thing.
he edited
The numbers
made his point, and they
have had a lasting influence on

the
way others have approached
Goudy *s
printing and typogra-
phy, his design of pages

azines
and mag-
and books, would never have
earned him a place in the history
obvious that haste
him something by way of
cost
perfection.
couple of faces he
redesigned after some years were

vastly improved,
evident that
if
and
it
seems
he had been
will-
his initial ideas into t)"pes
made more good
have
It is
he would
faces than
Something of
spect Sir Francis Meynells very
high opinion of
Finally,
it.
some of Goudy"s
on again
made
tunitv are so
in the face
by Rogers and
Hess improved or disfigured
it
and you can get good debaters on
changes were not
and
at least
but
if
de-
worked
he had had the oppor-
good one has
gret that he did not
who could produce
to re-
notably
Goethe and Marlborough.
A man
those designs
that ex-
as quickly as he did. designs that
some of them
would make anyone wish for more,
all
It
is
needs few defenders.

So, he did too
certainly his design in either form.

Italian
Old Style and
its italic
have also passed into the
cesses.
to continue to re-
argue about whether the changes
were suggested bv Goudv.
his ex-
good sense
signs that he would have
he was doing that fairly well, and

all
criticism.
now
English designers w ho have had
about Goudv \ewstvle. One can
tensive
the mid-20s
necessity cannot excuse
distinction be-
same judgment has to be made
their
true that he had to
make a living, but by
the
its
both sides of that question
ing to wait longer before he turned
he did.
design.
another face
than here, a fact that does honor
the
and de-
great compositors
signers proves
it is
some
some
num-
and
with
til
the 1930s with reaching the

list
t)-pe
hesitation, but its brilliant use b\
journal he created an instrument
vital in-
is
extensivelv used in England
of his other publica-
tions, notably his
Forum
much more
sign deserves distinction.
list
of
much too quickly.
But he made somewhere between

a
dozen and half that number of
classics, if the preferences of de-
faces that are
signers are any measure.
available.
among the best t}"pes
That
a great achieve-
of design or printing, but even in
But a dispassionate examina-
those areas, as Jones said, he never
tion of his designs will vield a
used in England and on the Con-
ment.
number
tinent as well as in this countrv.
Goudv"s entire work, taking into
and so often with striking
account both the sheer volume of
did any
harm
to t)"pography. But.
that will stand compari-
in the end. his reputation rests
son with the best work of other
squarely on his work as a type
designers in any era.
designer.
Style
^ as Goudv the greatest American t)ê designer or the most prolific? I
am
not sure the questions
are
designers, and
it is
and
among
hard to imag-
think of as pecu-
some letters are no great

Deepdene
Old
Style,
it
is
ics
Ital-
more highly
regarded bv some verv tough
One might approach

{
effect
not as widely used now as
ian
must be ranked among
the classics.
critics
disadvantages. ^Tiile
is
By now Goudy Modern
italic
what
liarities in
ine thev will not remain so in the
one asks them. His most serious

his eager-
justly popular
still
future.
was
that
and the accompanving italic
are ver\- useful, although everv-
fault as a designer
Goudy Old
It is still
and designers, and
crit-
think
it
can stand comparison with the
115
',x.y.
it
is
And when one
and the presence
looks over
in that
w ork of
such a large number of excellent

designs,
deny
it
seems merely
that he
silly to
was the outstanding
American designer of
and one who has
to
tv"pefaces
be considered
along with the leading type makers in historv.
mr
nVe
^^y^^^^'^P^^î'SS^?!?!
CHAPTER EIGHT
Not
the confus ion about the
all
listing of Goudys
list
was made
t)
Goudy's understanding of some
pes is his fault.
of these remarks was clear, but
who
they can be so confusing to any-
for people
attended the
one
1938 celebra-
few of them
tion of the
might
tliirt)
fifth anniversan
w:ôi,K
in the
story.
Some ot the
uncertainty
WORKS
preparation of it
about
but did not suit,
rors,
with
Goudy designs
list
that
Emmons
was
of
(It'stniction
corrected by hand on his
Earl
from the
arises
er-
which he
He and
identifi-
cation of the
4=
V
and
the record was

filled
James Thurber
Press. Goiidv had
pervise
have
come from
'.:t. i
of the \'illage
some part
else that a
own copy.
prepared a
less inaccurate
but
most of
his drawings, matrices,
and tvpes
in the fire at his
He had some
1939.
logs
shop
and
in
rec-
not entirelv valid or complete.
ords to work from, along with a
Goudy wrote A HalfCentury of Type Design and Ty-
great
pography 1895-1945, published
zines
Finally.
ries
many records of type found-
and from journals and magaand
his
own
\ illage Press
manv
he
com-
books. But for
plete listing interwoven with a
good
had
deal of biography. Its two
little
was celebrated by associates, but
by the Tvpophiles.
volumes are
look
at.
to give a
a great pleasure to
and many of Goudy's
remarks are vastly entertaining.

But the book was published
verv limited edition and
easilv
found now.
that follows,
lengthv
manv
not
have included a few

it
and
shorter ones. In general,
it,
all
on the types are taken
and those
that aren't will
relies
on memorv. His
recall
on anybody's memory
more than
of
fifty
years only with
caution.
Another source of confusion,
in a
so. in the list
comments from
the remarks
from
is
one
to relv
details
least
at
until a
few years after
Goudv's death, were the wild claims
made
in
in
many
articles
about him
magazines and newspapers about
how manv designs he had made.

Some people said he had made
more than one hundred and
thirtv
Goudx drawings for Klaxon.
be obvious to the reader.
1914
rejected out of hand any of Goudy's
was
comments
123. even though there are clearly,
that
have
were intended
ei-
faces.
At the time of
common
122 in
his death,
for people to cite
Half-Century of
ther to straighten out confusions
at best,
from previous
Type Design. Bv now
final
lists
or relate this
version to them.
am
sure
it
it
is
to
be
hoped that the memon, of tlie guess-
117
:\v,^
CHAPTER EIGHT
Advertisers'
Modem. 1930
Goudy could
not recall
why he started this design or even if all the drawings were
finished, but because he

all
the other work.
It
had cut
was made
all
the master patterns he concluded he had
for
done
Manuel Rosenberg of Chicago, the publisher
of The Advertiser, for his annual Sketch Book.
work done up
until forty years
ago has disappeared.
Goudv was
not careless in his
own claims about how many

complete t)"pefaces he had made,
but he took
some of
little effort
An
remarks of his admirers.

spection of the following
number
list
in-
will
1937
of these de-
signs were not complete faces

that at least
SKETCH BOOK
more extravagant
the
reveal that a
QThe Advertiser'^s
to correct
and
one was a mere com-
bination of two other Goudv faces.
In his volume on American print-
Blumenthal seems to
ers Joseph
Goudy
fault
Advertisers'
for counting italic
Roman
[nc], 1917
Patterns were never cut and the drawings were lost in the 1939
was
faces as separate ones, even though
just as well they perished, '"for
fire.
Goudv
felt it
don"t think they were any too good."
a large number of them were wholly
independent of the roman faces

they accompanied. In any case,
seems
fair
enough
it
an
to count
italic
as a separate face. If
one
does,
it
Goudv
de-
clear that
is
signed about one hundred faces

altogether.
In
my list, the names given the
designs are those used by

in
sign.
Goudy
Half-Century of Type De-
They do not always
spond exactly
corre-
to all the different
names given through
the years in
specimen books, magazine articles,
and other
no
places, but there is
reason to dispute his designations.
To make
it
more convenient
quick reference, the
list is
1926
Aries,
for
Made
given
for
this face
alphabeticallv rather than chronologically.
dene Press.
For those designs not
ful
some doubt,
name.
t^-pe
in
Eden. New York, and begun
used by
St.
John Hornby
in
1925.
at the .\shen-
hasa very Gothic look and was the parent of the much more success-
It
Franciscan face done years later for Edwin Grabhorn. The Aries Press printed
at least
cast in type, a bracketed notation

[nc] follows the
Spencer Kellogg's Aries Press
was based on the Subiaco
one book
in this type,
and there mav be more.
If there is
a question
mark
is
T SC0VVR6TH
included. ^\liere exact dates of
all
scurfeand salds from the head,bdng
therewith dailie washt before meales. Being moderatlie taken
completion of the designs are in

[saith he]
it
sloviêth age,
it
strcngthah youth, it helpah diges/
doubt, the dates are followed by

tion,it cutteth flegme,it lighteneth the
mind, itquickenah the
question marks.
spirits,
it
cureth the hydropsie,
it
healah the Strangurie,
it
pouncah the stone, it expellah gravel, it puffah aways all ven/

tositie,
eies
it
keepeth and preservah the head from
from dazeling, the toong from
fling,
^ti,
hirling, the
mouth from maf/
the teeth from chattering, and the throte from ratling;
keepeth the vreasan from
lisping, the
vi
118]
m^,:.-.y:.i,k'^..:.
stifling,
it
the stomach from wambling,
THE WHOLE WORKS

Booklet Old Style, 1916
Atlantis fncj. 1935
In
Half-Centun of Type Design Goudy said
that of designs
95. 96. 98. 99. 102. 103. and 104 in The Record
him and
or in
Emmons "absohitely
Earl
o/Goudv
numbered
This face was
87. 88.
Types assembled b\
nothing remains after the
fire
found
either in proof
mv recollection." He added that "the designs as we named them were: Goudy
Book. Hudson. Textbook Old
Stvle.
named
for
Goudy's
first
press and was designed for .\merican Type
Founders. Since A.T.F. never displayed
had
it
unacceptable. That
is
it
in
a pity: for its
specimen books, presumablv they
time
it
is
good face and might have
good influence.
Hasbrouck. Atlantis. Millvale. Mercury, and
sketches for two unnamed." In a footnote he said: "These
names sound
as
though
copied from Pullman sleepers!"
One
of the that
all
attempt
lasting lesson for graft pers
bright see these song notes
stone shone those nests co

the seventh regiment rollin
SHE SEES HOMES SHE

Barron's Boston êics Letter, 1904
Bulmer (ncj. 1939
This face was designed for Joseph Barron's financial newsletter in Boston. Ameri-
Goudy
can T\-pe Founders had Robert

vears later
Goudv could
^ iebking in Chicago cut matrices for it. But forty
not recall "just what sort of letter
fine capitals in
did" for Barron.
effort
Bertham. 1936
In
Mav
for
an
on
his
this one.
finished
it
named
Goudy
This
^ illiam
lower case to
Bulmer
in 1813.
fit
but his
his
word
for his wife (Bertha M.).
at the
time, but he set to
who had died
work
the vear before,
is
the
first
tvpe attributed to
Goudv based on letters he drew and
sent to the
men added
a lower case.
and
He based it on a book set in t%'pe derived from one used

at Lhn in 1482. Since the
had been using a tvpe made bv Emerv \âlker based on the
in sixteen days.
bv Leonard Holle to print the Geographica of Ptolemv
Ashendene Press
Holle types,
it
can be assumed Goudy referred
to that face.
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Speaking of earlier types, Goudy says
The
the
failure.
Dickinson Tvpe Foundrv. He made onlv the capitals, and the toundrv
one-hundredth typeface. Goudy said that the ninetv-eighth
and ninetv-ninth were not "done"

on
was a
Monotype he thought he could design
a copy of Hobbinal printed bv
Camelot. 1896
1936. Laurence Siegfried, editor of The American Printer, asked
article
told Lanston
old fellows stole
all
of our best ideas.
11'^]
CHAPTER EIGHT
Old
Caslon Revised fncj, 1905
Collier
Clarence Marder aske<l for a tvpe like William CaslonV Old Style but "without
Even Robert
spottiness."
Goudv said
his design for
its
1919
^ iebking. who cut the matrices, thought this type was odd. In
Goudy had seen
Marder"showed some departures from the
usual rendering of a traditional typeface, and this
Style.
in the
South Kensington
Museum
in
London
1909
a page printed bv
Palme Isingrin in Basle in 1 534 that had a peculiar serif on the lower case d. Goudv
may account for its non-appear-
assumed the serif had been damaged, but he found
ance as a type."
entire face based
on
it. It
was made
it
interesting and designed an
for Allen Collier of the Procter
and Collier
advertising agency in Cincinnati, which represented the Procter and
Company.
It is
a precursor of
Goudy Antique, begun
in the
same
Gamble
year.
ABCDEFGHIJKLMNO
PQRSTUVWXYZabcd
efghijklmnopqrstuvw^
xyz(3$,;:.-'!?ix3456789o
Caxton
Initials,
Companion Old Style, 1927

The 1927 date is Goudy's. The t\pe w as actually delivered in March 1928. It was
drawnat the request of Henr)B.Quinan. art director of 77ie U oman's Home Com-
1905
The great San Francisco printer John Henry Nash was fond of this set of capitals,
but Goudy considered it "a rather clumsy form of Lombardic capitals." American
Type Founders issued
it
for
many
panion magazine. Goudy thought
years.
made.
It
it
"one of the most unusual types
have ever
incorporates features which deliberately violate tradition as to stress of

is not specifically drawn to the innonow would agree with his notion that
curve, but which are so handled that attention
vations introduced." Not

it is
many
designers
reticent about its innovations, but
it is
truly strange.
ABCDEFGHIJKLMNOP
^R ST UVWXYZ(>., ';:!?ABCDEFGHIJKLMNOP^RSTUVWXYZ
abcdefghijklmnopqr3tuv
wxy^fifFffiflffli
Companion Old Style Italic, 1927

The companion to the above roman.
Cloister Initials, 1918
Goudy allowed
that this set of capitals
American Type Founders had asked

center capital
said he
.\
in
was not.
for
strictly
an alphabet
speaking, a typeface.
in the style of the large.
The Alphabet, and Goudy drew an entire
had not intended
it
to
234567890
set for
them.
be cut. but A.T.F. made matrices and sold the
He
t)-pe
for a while.
nopcj^rstu'V'^vxyzfiffffi
Speal^ng of earlier
T/i^ old fello'ws
120
types,
stole all
^0% ^>\i.
flff.
Qoudy
.,';:!?'
says:
of our hest ideas.
THE WHOLE WORKS

Deepdene
Copperplate Gothic, 1905
Goudv"* recollection wa? that

ders.
can
It
this
hodgepodge was done for American Type Foun-
Italic.
1928
See pages 18-26.
was made for Marder. Liise and Company and then taken on by AT.F. and
still
be found in old AT.F. specimen books and their old fonts.
ABCDEFGHIJKLMHOP^^RS
ABCDEFGHIJKLMN
OPQRSTUVWXYZa:
$1 234567890. /::!?FWG SAYS: THE OLD
TUVWXYZ&
no^(j^r
FELLOWS STOLE ALL

OF OUR BEST IDEAS.
Svcaking of earlier
The
zfijfffijlffld
types,
oUfcllou's stoic
all
Goudy
,' ;
? -
says
of our hest ideas.
Deepdene Bold, 1932
Cashing Italic, 1904

Strictly a job. this face.
stuviv xy
ahcdcfghijUm
Goudy made
Cushing Roman sold bv A.TF.
at the
it
for Clarence
Marder
to
accompany
See pages 18-26.
the
time.
ABCDEFGHIJKLMNOP
Q^RSTU VWXYZ&., ';:!?-
ABCDEFGHIJJKLM
abcdefghijklmnopqrstuvw
X7zfiffffiflffl$1234567 890
NOPQRSTUVWXZ
klmnop qr
stuuwxyz&$?!- ,:;
1234567890
abc d ef gh
ij
Speaking of earlier types,
Goudy says: The
'
old fellcws
stole all of our best ideas.
Deepdene, 1927
Deepdene Bold
See pages 18-26.
See pages 18-26.
Italic,
1933
TUVWXYZ &.,';: !?-
ABCDEFGHIJKLMNOP
^RSr UVWXYZ&'. ,';.!?'
ABCDEFGHIJKLMNOP0RSTUVWXYZ&:
ahcd efg hijklmnopqrstuviv
abcdefghijklmnopqrstuv
xyzfijfffifimi234567890
ABCDEFGHIJKLMNOP
Q^RS
wxyzfiffffiflffl^}
Speaking of
The
i23456-]89o
earlier types,
old fellows stole
all
Goudy
Sj^caking of earlier tvpes,
Goudy
says
of our best ideas.
says:
stole all of
121
The
old fellows
our hest
ideas*
CHAPTER EIGHT
Deepdene Medium, 1931
DeVinnp Roman. 1898
See pages 18-26.
A book face based on the display type designed by Theodore De \ inne and made
on theorderof Walter Marder of the Central Type Foundry of St. Louis, Missouri.
ABCDEFGHIJKLMNO
THE TIMES WHEN ADVERTISERS
PQRSTUVWXYZ&
INSISTED UPON A HEAVY BLACKFACE OR

Gothic in displaying advertisements are
past.
abcdefghij klmnopqrstuv
Display
Text, 1931
See pages 18-26. This face was made specifically for Fashions
pography, published by Goudy's friend
Tbis proof sbowjs
Edmund
in
American
An
Ty-
in printing
Roman
[nr?j, 1897
early experiment,
which Goudy described only as "a display
letter
leaning to
the bold."
Gress.
new open
forces that are at
have wrought so well

that there is widespread appreciation in
evidence of the beauty and value of the
refined and $1234567890 neat light faces
work
wxyzfiflffffiffl
Deepdene Open
The educational
text in
24 point
nou) in proces;5 of cutting It is suited for printing
wbcre a toucb less austere is wanted tban simpler

type
would allow Tbese cbaracters
are set in a
face of similar design foruse if more color is desired
Deepdene
Text, 1931
See pages 18-26. This
is
simplv
fillcd-in
Deepdene Open
Text.
Engravers'
Roman
Goudy was
uncertain whether this type was ever cut. There
was intended
for the use of printers in small
plate engravers.
to consider
Jn tbc best books men t;lk to

to us tbcir most precious tbo
jourtbeirsoulsinto ours, Tt
or books!
Tbcf
tbe vuor
122
[nc?j, 1904
Goudv was uppity about
such a commission."
it:
is
no record
ol
it.
It
towns who had no access to copper-
"Today [1944],
would refuse even
THE WHOLE WORKS

Forum
Title,
Garamont, 1921
1911
This elegant capital face was based on inscriptions Goudy had made rubbings
from on Trajan's Cohimn and the Arch of Titus in Rome in 1910. It was a favorite
of Sir Francis Meynell and Bruce Rogers,
among
See pages 103-5.
others.
ABCDEFGHIJKLMNOP
QRSTUVWXYZ&^CE
ABCDEFGHITKLMN
ABCDEFGHIJKLMN-QPQRSTU
OPaRSTUVWXYZ&
vwxYZ&^cEfifFffiflfnasoed:^
1234567890^.,
wxyz.,";:!?-[($i2.345 6789o
FWG SAYS THE OLD FELLOWS

'
STOLE ALL OF
OUR BEST IDEAS
Garamont
Franciscan, 1932
on
own hand the Aries
face
Goudv had recut
his own machinery and by his
made in 1926. intending to "use it for my own printing rather than to offer
it for general sale." but he was persuaded to sell it to Edwin Grabhorn, who sug-
Italic,
1921
See pages 1035.
first
gested the new name. See page 96.
ABCDEFGHIJKLMNO
HBCDEeFGHIjKLMN
O O D Q R 3 T U V W X Y Z .O
PQRSTUVWXYZ&y(E
'1234567890
ahcdefghijklmnopi^rstuvwxyT^
abcdefghijkl mnopqrstuv
^(fijfffiflffl^/;:!^-î2^4^67890
(S=2(^. :;/?"!
Speaking of earlier types, Goudy says:
Speaking of earlier tjpeSj

Goudy says: The old fellows
The old fellows stole all of our best ideas.
wxy^fffiflffiffld
Friar,
1937
Globe Gothic Bold, 1905
Goudy s comment was that he designed this t\"pe for his own amusement. He said
Draw II
he based the capitals on the '"square capitals" of the fourth centun.- and the "rustic
manager of
hands" of medieval scribes. The lower case derived from uncicds of the fourth,
types."
fifth, sixth,
and eighth centuries and from t^-pes designed by Mctor Hammer and
this
for
American Type Founders

its
Boston branch,
this
at the
was "the
suggestion of Joseph Phinney. the

least satisfactory (to
me) of all
should not be confused
if it
matters.
Rudolf Koch.
AABCDeepqHniJKLMNO
DISTRUST
More Histo
PQRSTi;UVWXYHercSfffl|fl
aa.Bbbcdbeefg9hijklmnop
QRTStuvwx^'^ .,';:!?''-T4?*
1234567890
Bold Displa
Speaking of eanlieR r>'pes, Qoub}' says
The ob fellows stole all of our eesi: ideas.
123
my
Goudy said. There are other Globe Gothics in A.T.F. catalogues w ith w hich
CHAPTER EIGHT
Goudy Bold Face [nc?], 1932
I made it. I cant imagine." Coudv said. It is not the Goudv Bold
American Type Founders, for which Goudy had no responsibility.
Goethe, 1932
Goethe was drawn
for a
specimen Goudy
sent, at request of the organizing
mittee, to the Goethe Centenary Exhibition in Leipzig. "In the main." he said,
was "a lighter version, with
slight
"^Tiv
comit
issued bv
changes and refinements, of Goudy Modern."
Monotype has found this face reminiscent of the late eighteenth-centurv Biimv and Ronaldson type used by Daniel Berkeley Lpdike in
"
Printing Types: Their History, Form and Use. His question is apt.
\âlter Tracy of English
ABCDEFGHIJKLMNO
P(^RSTUVWXYZ&.,':;!?-
ABCEPNOTRmbdh
abcdefghijklmnopqrstuvwx
yzfiffflffifflas
The old
Goethe
Italic,
fellows stole
all
Goudy says
of our best ideas.
Goudy Book [nc J. 1933
1933
The companion type to Goethe.

enstein, where
norspufvylg'',.iaetc
12,34567890
its
It
was used
eminent qualities
as a
in the
book
See the remarks on Atlantis.
Limited Editions Club's Frank-
face are apparent.
ABCDEFGHIJKLMNOP
(IR S T U V W X Y Z &.,';:!?
^y
zfiflffffi
'?7^cidi2,3456789o
The oldfellows stole all ofour
best ideas.
Goudy Antique, 1919

The date marks the beginning of the designs, which were first shown at the American nst it ute of Graphic Arts [)rinting show in 192L Tlie matrices, the first Goudy
Goudy Cursive, 1916

Goudy said this face was drawn at the suggestion of Clarence Marder (then of Marder, Luse and Company) and that it was"mv own interpretation of earlv Roman
cut himself, were finally engraved in 1926.
cursive writing."
more by turning the leaves of the book of expenence

in their chosen trade than they would gain in the formal
institutionsestablished for that end. This
is
abcdefghijklmnopqrstuvii'xyz
particu-
^ K^"KSU SuTh ^ g km-.
larly true of the art of pnnting,as the elements of good

expression and the thoughts of the best intellects are
forced upon the minds of those who work at the com-
1234567890
ABCDEFGHUKLMNOPQURSTW/XYZGr
posing-case.
Qoudy
says:
The old fellows stole all of our best
ideas.
Speaking of
abcdefghijklmnopqrstuvwxy2:^(flfifflflflrffi.,':;?!
124
^>?9!a?^*^?7^^^v5!^^^
earlier types,
THE WHOLE WORKS

Goudy Italic {ncJ, 1921?
Goudy drew the face to accompany Goudy Roman, but it never proceeded beyond
Goudy Dutch [ncj. 1927

The drawings were lost in the 1939 fire. The design was inspired by "some handwTiting on an envelope addressed to me by a correspondent in Holland. The script
was so unusual in character that I immediately conceived the notion of making
a tvpe w ith
it
drawings, which were destroved in the 1939
fire.
as a foundation."
Goudv Heavy Face. 1925

The storv Goudv told was that Harvey
Goudv Lanston. 1912

new president of the Lanston
and persuaded Goudy to design one.
Robert Hewitt of Ardsley.
Best, then the
New
'ôrk.
commissioned Frederic Trevor Hill to wTite
"As such a
book about Abraham Lincoln and asked Goudy to design a new type for it. Hewitt died before the book w as set in t\"pe. and Goudv. who had not been paid, named
the face
Monot)-pe Company, wanted a hea\-y face
letter has little appeal to me I was slow in getting at it. but I finally did.
am quite certain that my design was more or less a disappointment to Best...."
for
Goudy Old
American
that t\"pe
ABCDEFGHIJKLMN
OPQRSTUV^VXYZ&
Style
and renamed
Monot%'pe w anted to
renamed
it
and put
T)-pe Founders
fit
this
it
on the market. Later he designed a new face
and released the name Goudy Old Style to them

one Goudy Antique. Many vears
the type for the
machine and.
at
later
Lanston"? request.
Goudy
Goudv Lanston.
abcdefghijkltnnopqrs
ABCDEFGHIJKLMNOP
tuvwxyzfijfffiiflffla^
QRSTUVWXYZ&.;;:!^
./;:!?^$1234567890
Speaking of earlier
y2,fiffffiflffldxoe$i234567890
types, Goudy says:
ubi^
imiik.
roudy Heavy Face Italic. I9î>

Companion face to the above.
Goudy Modern. 1918

See pages 101-3.
ABCQOEFGHIJKI.
ABCDEFGHIJKLM
MMT^rOPTftRSTlZ
VUWXYZ&.f*;:!?'
NOP Q^R ST U V WX Y
abcdef^ghij10inno
pqrstuvivxyzfiffffi
abed efgh ijklmnopqrs
flffl$1234S67890
tuvwxyzia34567890
Spealiîn^ of earlier
types, Goudy says:
f?
Speaking
The
m.
{
125}
,';:!?-fiffflffiffl
af earlier tj'pes,
old fellows stole
all
Goudy says:
of our best ideas.
for
Lanston
CHAPTER EIGHT
Goudy Modern
Italic,
Goudy Old Style
1919
Italic,
1916
See pages 99-101.
See pages 101-3.
ABCDEFGQHIJJKL
MNOPQRSTTVVW
ABCDEFQHIJKLMN
OPCiRSTUVWXYZ&
XYYZ&fijfffiflfflaSiu
ahcdefghijklmnopqrstu
i;ii^x}':^. /;:/?'$ 123 45 67890
abcdefghijhlmnopqrstuvwxyz
Speaking of earlier
Speakingof earlier types, Qoudy says:
The old fellows
stole all
of our
Qoudy
best ideas.
The
says:
typeSy
old fellows
of our best ideas.
stole all
Goudy Aewstyle. 1921
Goudy Open, 1918
See pages 105-6.
Goiidv said the face was suggested by the caption on a French engraving used as
a frontispiece to .\lfred Pollard's
Fine Books, âher Tracy has shrewdly sug-
gested that the inspiration for going to such a source was the success of the Cochin
t\ê, issued bv Lanston
Paris in 1912 by
ABCDEFGHIJKLMN
French engravings.
OPQRSTUVWXYZ&
face
ters
and four
Goudv
Monotvpe
in 1916,
adapted from the Cochin issued in
Deberny and Peignot, based on
He also
lettering in eighteenth-century
points out that there are only seventeen lower case
must have been
his
own.
ABCDEFGHIJKL
NOPC^RSTUVWXY
abcdefghijklmnopqrst
uvwxyzfFflfflft. ,';;!?-
1234567890
aDcaelgmjiciiiiiiopqrs
The
tuvwxyz I 2,34567890
Goudy Old
old fellows stole
all
of our best
ideas.
Goudy Open
Style. 1915
See pages 99-101.
Italic.
is
Goudv Modern
open
first
italic,
Goudy designed the italic

merely opened up that
P(^RSTUVWXYyZ&
ABCDEFGHIJKLMNOPQRS
TUVWXYZ&-fifFffiflffl,/;:!?-
abcdefghijklmnopqrst
efg hijklmnopfiq
t u V w X y z
/; !?"^
flffl$i2^4^6y8go
d
uvwxyz$1234567890
ing of earlier types,
dy says: The old fellows
The
and. to create this
reversed.
BCDEFQHIJKLMN
OPQRSTUVWXYZ&
says:
1919
Here the relationship to Goudv Modern
ABCDEFGHIJKLMN
Goudy
old fellows
126
^^FPTT^
let-
capitals in the inscription in the Pollard book, so the rest of the
'*..
rf
5-*
-3.
Kr^jjTKK/
of our best ideas.
for
face.
THE WHOLE WORKS

Goudv
Goudv Roman. 1914

The date is for completion of the original drawings. Louis Orr of the Bartlett Press
had asked for a new t^-pe. Goudv took his drawings to London to be east by Caslon.
Thirty.
1942
This t>"pe was made at the request of Lanston Monotype.

other than only mine as strange for the
summer and Caslon could not be sure

to make the t)-pe. Goudv then returnmaterials,
it
refused
of the future supplies of
would be issued
ed his fee to Orr. Later Barnhart Brothers and Spindler in Chicago cut
fers to the fact that
but. because there were
ces,
I
war rumors
which Goudv did not
revamped
the design,
like.
that
Fmally.
"when
trial
advertised
matri-
when
it
finally
may strike sensibilities
him
to design a face that
how Lanston
its name reGoudy faces.
was the case, and that
is
appeared after Goudy died. Presumably
Lanston had issued twenty-nine pre\-ious
was engraving matrices myself.
ctttttttttttt
ABCDepQHIJKLMNOpQRSTUV
WXYZ
CS1234567890
.,"':;!?)^flff)i^ffl
abcdefghijklmnopqr6Cuv\\'xy2;
ppppp
Goudv Stout. 1939

moment of t)-pographic weakness," Goudy wTote. "I attempted to produce
a "black" letter that would interest those advertisers who like the bizarre in their
Goudytype. 1916
The design was done for American Ti."pe Founders,
"In a
He
after his death, but that
It
to ask
renaming the face Goudy Roman."
Homep Homep Ho
poem pope mop
m.mmmmLm oooooo
print."
it
company
for a type to
touch of quaintness'" was wanted. "I was pleased with it
at the
be used where "a
time of its making."
Goudv said, "for I felt it represented a liveliness of handling not hitherto expressed in type... but that in itself was not enough to make it a good type."
cut only one size and no one asked for another.
HI JKI.M:
ABCDEFGHIJKL
MN OPQRSTUVW
XYZabcdefghijklm
nopqrstuvwxyz$&'
.:;,-!?'1234567890
Goudy
Text.
Goudv Lncials
1928
Goudy said, this black face was based on the Gutenberg forty-t wo-Une
\ia letters he had made for lines in Typographica .\o. .5 and Elements of
Bible,
Lettering.
"My drawings show a "trait" on the lower-case b,
belong only to the
"1."
The
the straight stem of the
"1"
"trait" is
little
at the height
was used to differentiate the

trait
"1"
h. k.
1.
which properlv
pointed projection on the
left
of the lower-case "middles" and
from the
figure
one
(1).
In
my
(1
ignorance
side of
think)
I
put a
on the other straight ascending stems where it was not needed, a lapse I never
expect to
live
down, although no one. as
yet. has called
me
for
it
[ncj. 1927
The drawings, lost in the 1939 fire, were capitals based on the capitals of medieval
scribes. Goudv had intended them to be used onlv as initials.
Lltimately.
praise be."
abcdcfghijklmnopqrstutUBxUi
&-$ITlflfilTIR.:;-,'?!i2)-t56789o
127
CHAPTER EIGHT
Hasbrouck Inrj, 1934
Hadriano Lower Case, 1930
Goudy
said he did not want to design this face, but the
quested
it.
"I
do not think anything ever came of
it
Monotype company
See Atlantis.
re-
praise be!"
Here are Letters mameingK

KmimninipiTirnisiiitni Eggs
Camera Fame Gist Merit it
Ragime Dare Pirate Thirst
Nights m.ap parts sights are
Hebrew Universitr [ nc?] 1945

Goudy knew no Hebrew, but he was asked by the American Friends of the Hebrew
Hadriano Stone Cut. 1934

Strictly speaking, this face
ought
to
be
listed
among
those often attributed to
Universitv in Jerusalem to design a dedicated face for the institution.
They sup-
Goudv but done by others. It is included here only because the original is in fact
a Goudy type. For this one Sol Hess of Lanston Monotype simply made a white
inline cut in Hadriano; Goudy said he liked it and so gave permission that it be
German Hebrew face that had become a classic among European

him
Jews plus a second that was widely used to print Hebrew texts in many countries
issued as his.
as models.
plied
ABCD EJb'UHIJ
KLMNOFQ^RS
TUV^^XYZa'
with a
a^DrriD
12345 67890.,^
Hadriano
Title,
The decision
Inscription Greek.
1918
to design these pleasing
spur-of-the-moment one taken
which had on
it
llic
name
late
one night and executed quickly.
made form
a rubbing of Idlers (ioudv
and
popular inscriptional capitals
Roman
ol llir cniin-rur
fragment
in the
It is
was a
Actually, this
based on
Louvre
in
bet,
made
Greek
191U
to
is
1928?
only eleven Greek capitals, those not copied by the
Roman alpha-
be added to the eighteen-point Kennerlev small capitals to form a
font.
Hadrian.
ABCDEFGHIJKLMN
OTQRSTUW/XYZ.',
1234567890er
FWG SAYS: THE OLD
TO AAMnPON KAI SOÔN

AOYr TO TEPFNON rXHMATOS
AHN H BAHZOYEA.
<|)IAHZ
T'ELLOV^S STOLE ALL

128
THE WHOLE WORKS

Italian
Old
Kenneriey Bold, 1924
1924
Style.
See pages 97-99.
See pages 106-9.
ABCDEFGHIJKLM
Italian
NOPQRSTUVWXY
ABCDEFGHIJKLMNOPQ
Z&.,';:!?'fiffffiflfflct^qf
abcdefghijklmnopqrs
RSTUVWXYZeiffiffffiflffl
abcdefghijkllnnopqrstuv^v
tuvwxyz$i23456789o
xy ^(51^ ./;:!?-($ 1 2 3 4 5 6 7 8 9 o
Goudy says: The old fellows
Goudy says: The old fellow^s
Old Style
Italic.
Kenneriey Bold
1924
ABCCDE6FQHIJKLCM
Speaking of earlier
Qoudy says: The

stole all
ah c d e f gh i j\lmnop qr stu
vw xyz,,' ;:l?^$i2^4^6y8go
Spealîng of earlier types^
types,
Goiidy says:
old fellows
stole all
of our best ideas.
Goudy
the t^'pe therefore
is
said. "It
it
will
Goudy designs done
only that
it
owes nothing
as truly an
tion can be." However,
other
The old fellows
of our best ideas.
Kenneriey Old Style. 1911
Kaatskill. 1929
This face was designed for the Limited Editions Club and
ff inkle.
1924
ABCDEFGHIJKLMK
0PSiRsruvwxr2&
YZ&.;;:!?-fiffffiflfflat
ab cd e f g hij h^lmn o p qr s
tu V IV xy z$ 1 ^ 3 45 6 y 8 g o
Ian
Italic.
See pages 9799.
See pages 106-9.
owed nothing
in its
Rip
in its design to
any existing
face,
and
See pages 9799.
American type as anything so hide-bound bv tradi-
bear comparison with Deepdene and even with a few
in the late
to
was used
first
1920s and earlv 30s.
He may
have meant
any existing type by anyone other than himself.
ABCDEFGHIJ KLMNOP
ABCDEFGHIJKLMNO
QRSTUVWXYZ6?^CE((]}
PQ^RSTUVWXYZ&ÂBCD
abcdefghijklmnopqrstuvwxyz;
EFGHIJKLMNOP(^RSTUVWXYZ&'
aeoefiffffifIfHd:^.;;:!?'$i234567890
abcdefghij klmnopqrst
uvwxyzdfiflFffiflffl.
Goudy
,';:!?'
1234567890
says
stole all of
129
The
old fellows
our best ideas.
CHAPTER EIGHT
Kennerley Old Style
Itolir.
Lining gothii jnr]. 1921
1918
Drawinfi- of this sans
See pages 97-99.
in cuttiiifi
serif
were eoinpleted. but when Robert
matrices the order for the tvpe was caiuelfd.
It
is
^ iebkiiig was late

a pitv
because the
drawings had some qualities associated with Kabcl and Fulura. Goiidv
it
ahcdefghij\lmnopqrstuvwxyz
<e<MMffi-.'r-!^'$i2345678go
(Ji/iihils.
of
said,
and
iho^c faces.
PACK MY
BOX WITH
ABCDEFGHlJKLMJiO
PS^Rsruvwxrz ^ê ce
Kcnnrrlcy Open
predated both
Liinil/drdir Ccijiitals.
1911
See pages 97-99.
1929
The Story of the Village Type gives 1921
as the date for the drawings
as the date for the cutting of the matrices.
Goudy said, "I imagine
refers to the
showing made
in
and 1929
the earlier date
Elements of Lettering before the thought of cutting
the design in tvpe occurred to me. "Indeed, in the main the\ follow theLombardic
capitals
shown
in that
book."
ABCDEF
GHIJKLM
jw
TUV
Klii.xiin.
made at the request of thead\ertisingmanagerof Loxell,
and Compain of Newark. New

Hoberl
\\
Marlborough. 1925
1914
This face was
n o p Qia ^ T Q V oq
.lersev.
iebking cut matrices for three
manufacturers
sizes,
of the
this tvpe has
automobile horn.
but they perished
to w hich Goudy had moved two years earlier,

Goudv had made nine-inch draw ings for it. and
Named after Marlboro-on-Hudson,
McConnell
an
intriguing historv.
onI\ after a sixteen-poiut font was cut bv Robert \X iebking did he notice that
in the 19.39 fire.
man\ features, especiallv the serifs, disappeared in the reduction. He later cul his
own matrices for a redesigned \ersion, but decided uidorluuateK not to make an
effort to sell
"A WARNING SIGNAL
It
was entirelv destroved
in the
1939
fire.
ABCDEFGHIJKLMNOP
Q^RSTUVWXYZ&. ,';:!?'
must not only
^3^
waves on the drum of the ear, but it

mind behind the ear and cause voHtional
alarm notice over the

least one block, to even a deaf or slow-moving
the wind and other noise of the street.
signal should carry its
yzaecEfiffffiflffld$i234567890
130
yiJis..
it.
Ky.
>^fl
THE WHOLE WORKS

Marlborough
Only the
Text.
letters
1944
needed
Millrtilr
to print "Certificate ot
the Iiiteniatioiial Printing
Honor were
cut.
It
was made
See
tor
Imj. 1935
Atlantis.
Company.
i aTtficatc of
Donor
MV^V
Monotype 38-E Roman. 1908
made for Lanston Monotype for use in the original Life magazine.
Since Goudy knew little about the Monotype machine at the time, the companv
made manv changes in the letters to fit them. GoudvV judgment of the changes,
Mediaeval. 1930
This face was
See page 110.
done without
his consultation,
were as well done as
is
by the Gimbers department store
Gimbel and
HBq;Di;eFFGGHI]KI,MN
also
a rare
one for him: "Probablv, however, thev
could have done them." Because the type was used so
"contrary
to
in its advertising,
it
was known
my w ishes." said Goudv
as
Goudv Old Style
and Goudy Light.
0PqRS3TUVWXY^&.,';:!?^
ABCDEFGHIJKLM
abcdefghijklmnopqrstuvwxyz;
NOPQRSTUVWXY
fiffffiflfflllaxcE$i234567890
Z&^(E:,';:!?-fiffffiflffl
The
old fellows stole
all
abcdefghijklmnopqrstu
vwxyzaeoe$i234567890
of our best ideas.
Mercury fnrj. 1933

See
Monotype 38-E Iialir. 1908

Companion to the 38-E Roman.
.\tlantis.
ABCDEFGHIJKLM
NOPQRSTUVWXY
Z&MCE. :;:!?. fiffffiflffl
vwxyzxoe$i234^678go
Speaking of earlier
131
much
for vears as
types,
CHAPTER EIGHT
Sational Old Style. 1916
Mostert, 1932
Known among
Goiidv had bought from Paul Hoeber. the medical book publisher, a handwritten
book made bv Annelise Mostert of Stuttgart
in 1923.
a pseudo-roman letter presenting an interesting page, and to recou[> the

the
book
used
it
as a basis for a
so he did not develop
it
tii-pe."
ccist
printers for a couple of generations simply as National, this tvpe
was designed by Goudy
"The writing was well done,
Tv-pe Founders.
of
he said. But the proofs displeased him,
at
the request of Clarence
tering for the National Biscuit
was. "As a display letter
further.
it
Marderand made bv American
made from Goudv"s letGoudvs judgment

probably compares favorably with manv others we
Marder had requested
a type specifically
Company
fifteen years earlier.
could do without."
ABCDEFGHIJKLMN
OPQRSTUVWXYZ&
abcdefghijklmnopqrs
tuvwxyzfifFflffiffl. ,;':!?-$
1234567890
Murchison fncj, 1938
"I
.Yew Village Text. 1938
was asked by Mr. Murchison of the Photostat Corporation
if I
Goudy listed this as a separate face, but it is not, from his ow n evidence. The Grab-
would see him
Goudy said. He
He designed a face
regarding a new type for a composing machine he had invented."
horns
then gave a verv amusing description of this strange device.
Deepdene
and made matrices
for the exact size needed, but
that he disapproved entirely of
it is
obvious from his remarks
in
San Francisco were planning a book on

text for
Goudy's son cast capitals of the twenty-four-point

case of the twenty -four-point
it.
^ iiliam
Casting about for something a
it.
Caxton and ordered
little
more
distinctive.
Torv- Text to line with the lower
Deepdene Text and Goudy gave
the
mongrel
this
name.
15<r
1234567890
4]^4bcdefgbi)klmnopqr
Nabisco, 1921
.\orman Capitals, 1910
The National Biscuit Company asked Goudy for a dedicated face that would reflect drawn letters he had made for the comj)anv in 19U1 or 1902 and it became
the model for a type that was popular for a long time, known as National. Goudy
said, however, he simply went ahead and designed a new type, without reference
These
to his previous drawings.
quest he then designed the rest of the alphabet, and the tvpe was
letters
were designed for Norman
Thompson Companv
of Baltimore.
the George H. Merrill
Companv
T.
A. Munder. formerly of the Munder-
Goudy had designed
for
him
a catalogue for
of Boston, makers of printers' ink. His original
MunderV remade for .Munder
design was only for enough letters to print the company's name.
by American Tv-pe Founders.
ABCDEFGHIJKLMN
ABCDEFGHIJKLMNOP
QRSTUVWXYZabcdef
OPQRSTUVWXYZA
ghijklmnopqrstuvwxyz
$&"?!'-.:;,
2345
SEE
7890
BROWN EOX JUMP

I
!^
THE QUICK
132
^V^^^n^^
THE WHOLE WORKS

Ornate
Title.
Gomlv must
Pu.x fnrj.
1931
liave
been feeling nostalgic when he drew these odd capitals
to his end.
He said
that "the letters
did for the
Sunday School room
[in
hav-
The drawings were done and patterns
coming
ing passed sixt\ -five and obvioiislv feeling other people thought he was
1936
cut, but
Goudy was disappointed when he
engraved matrices and saw the type. See also University of California Old Stvle.
Shelby-
youth] nuiy be responsible for the idea of the face."
ville. Illinois, in his
ABGDE3PGBCIJ
KLMN03Pl3^g
TU VWX YZ ^
f*
PRECIOU
Pabsl
Roman, 1902
Goudy's account of
Powell. 1907
this type is straightforward:
ments for the Pabst Brewing Company, which

ager.
liad
Joseph Kathrens. and placed through the
attracted the attention of Mr. Powell, advertising

store of Schlesinger
into type.
Mr. Powell was Goudy's
"'Some lettering of advertise-
done
J.
\^ alter
manager
Thompson
for the
midwife and more
man-
for the advertising
store in Chicago
agency,
first
Kennerley, obviously. Five years after he had been
to the Pabst.
he moved to the Mandel Brothers department
and commissioned
this
1%^^
department
& Maver. He asked if that particular lettering could be done
Draw ings w ere made and delivered
to
him and paid
for
Pow ell
later
approached the American Type Founders Company, who cut a number of sizes."
ABCDEFGHIJKLM
ABCDEFGHIJKLM
NOPQRSTU VW
NOPQRSTUV^VX
X Y Z ? a;
? abcdefghijklmno
pqrstuvwxyzasoe
,
Y ZaDcaexgnij klmnopqrst
ww^^'s.Y xThe
and
^ of J^C^
$(]-?. :;,ri234567890
Pabst
Italic.
fiff
1903
This was made to accompany the Pabst
fl
h,
' :
$123456Z890
Quinan Old Style /ncj, 1932

Named for the editor of The American Mercury, w ho was looking
Roman Goudy had done the previous vear.
for the
magazine
heads.
Goudy drew
but the design was rejected.
ABCDEFGHIJKL
for a
new face
the letters for the magazine's consideration,
The drawings perished
in the 19.39 fire.
MNOPQRSTUV
ible to a high degree.In its essen
VvX yZ ah ca efgliij k1 m
no;^ qrst uvwxy z^ S x) Q
departu res from good tradition

although showing a new hand
tial letter
forms
it
presents few
ling of some features in indivi
9y[^'P'RTQu&$ffff)
fPffi?!';:-'. 1234567890
THESE ARE THE CAPITALS

OF THE FONT. B D QF J G Cx
I
133
CHAPTER EIGHT
Record
Title,
Charles
Saks Goudy Bold, 1934
1927
Dp Vinne.
the <;'aii(lson
of Ameriran type designer Tlieodore
Low De
Vinne. requested this vpe for The Architerlural Record, for the headings.
i
It
See pages 109-10.
was
May 1928 issue. Goudy said it was inspired li\ a treatise of

Damianus Moylhis printed at Parma in 1480. which gave the geometrical proportions of an alphabet of roman capitals (this work has since become rather too w ell
displayed best in the
known
to designers
and typographers through the
efforts of Stanley Morison).
IMPCAESARIDIVI
ABCDEFGHIJKLMNO
NERVAE TRAIANO OPTI

ICO DACICO PONT ^MX
PQ,RSTUV^VXYZesi.,'^
FWG SAYS: THE OLD
IMP
VII
COS
FELLO\VS STOLE ALL
VI PP FORTISSIMO
Saks Goudy
Remington Typeuriter. 1927

This whole project was
ill
of the actions of the typewriter and
its effect
on the type the machine
Italic.
1934
See pages 109-10.
advised from the beginning, although Goudy's study

finally
printed is very valuable. He said heneverknewvvhether the face was used by Remington, since no one had ever written him a letter in it. Event uall\. Lanston Mono-
type cast a type from the designs.
Dear Sir -
ABCDEFGHIJKLMNOPa
See remingtn type de
RSTUVWXYZ&.,';:'.1-
inter e sting made at Deepdene

May yet master di
is star ted
men and slname stranger Sj enter
demented mangy tramps and rip
stepsister may grasp this, a m
aiming at imaginary enterpris
,
ahcdefghij kimnopqrstuvwxyz
Speaking of
earlier types,
The old fellows
stole all
Goudy
of our
Sans Serif Heavy. 1929

This unhappy face was made for Lanston Monotype
Saks Goudy. 1934

See pages 109-10.
serifs
coming
Goudy
ABCDEFGHIJKLMNOP
as
into the United States
much
as
it
to
says
hest ideas.
compete with the new sans
from Germany and Knglaiid.
It
di-a[)p()inted
did Lanston Monotype.
ABCDEFCHIJKLMNOPQRSTUV
QRSTUVWXYZ&.Z;:!?-^
WXyZabcdefghijklmnopqrstuvw
xyzfiflffffiffl $1234567890. ,-':;!?&
ABCDEFGHIJKLMNOPQRSTUVWXYZ&i
The
system and series of symbols

representing collectively the elements of written
2.34567890
language; letters are the individual signs that com-
xyz&ffffiflfflî
Of earlier types, FWG
says
is
pose the alphabet, each signifying primarily but one
The
thing,
what
letter
it is,
i.e. its
name.
It
does,
ever, have a secondary function, the part
old fellows stole our best ideas.
134
;7^
alphabet
r::^\\
'
>^^..^
it
how
plays
jn ^>'
THE WHOLE WORKS
Sans Serif Lighl. 1930
Siripps College
Simply a
Companion
lighter
ersion of the heavy.
Old Style
t^^pe to the
Italic.
1944
Scripps College Old Style.
A^BCDEFCHIJKLMNOPQ
RRSSTrUVWXyZ&. ';:!?.
aabcdeefghijklmnopqrstu
ABCC^PGHILNO
vwxyzfiffffiflffl$l234567890
PdRSTUahcdefg
Coudy
stole
says:
all
The
hijlmno'prstuy
old fellows
of our best ideas.
Sans Serif Light Italic. 1931

This was made to accompany
Sherman. 1912
the Sans Serif Light, even
preached that a sans serif face needs no
Goudy
though Goudy always
said this type
was "one of my great disappointments.'" He designed
Frederick Sherman, the publisher, who had Munder print
italic.
by Bliss Carmen
in
it.
Goudy thought
his
Painter's
it
for
Holiday
drawings "really beautiful." but found
the type, w hen cast, difficult to use. "1 had at that time, due to inexperience, con-
cluded that 'close

I
/)9qBCDFQH/j/<LM771NN
pack
wxyzfiffffiflffl$l234567890
oar best ideas.
Scripps to pay for
He
said
it
it
use.
and Goudy's design was intended
donor gave a
for use
printing firm had commissioned
pleted about
fifty
company
on a school press.
to cancel the order.
L niversity and
named
'
A B C DEFGHIJKLM NOPQ,RSTUVWXYZ&
abcdefghijklmnopqr3tuvw
Speaking of
d:2ed: I z
345 67 890
earlier type$,
Goudy
135
its
own
face
and Goudv had com-
drawings when wartime restrictions on materials caused the
ABCDEFGHIJKLMNOP
d R S T U V W X Y Z &r
ffffifl ffl
11.34567
ôeaflffi
A large book
Journalism.
2; fi
five
jgs
gift to
was straightforward but not foolproof.
xy
never saw him again.'"
box with
that
wanted tvpe
in California,
book making could
interested in
Sherman type
do not know, as Sherman and
Spencer Old Style (nc?]. 1943
St vie. 1941
Dorothy Drake, the librarian of Scripps College
who were
Qu&
YQULVKJPZBWX,
890
Qoudysays: The old fellows
students
my
dzn Iqur
Old
now
is
FREDICSHAMNGT
Scripps College
of a type was a sine qua non. and in the
quarreled later over other business matters and
0P5RSTUVWXYZ&., ';:/?'
stole all of
fitting"
went to extremes.... ^XTiere the type
:^>'
*^W
it
Goudy completed
for H. Lyle Spencer,
the design as a gift for SvTacuse
dean of the imiversity's School of
CHAPTER EIGHT
Ton Text, 1935
Goudy was planning to print an edition of the medieval tale Aucassin and .\icol-
Spencer Old Snle Italic fnc?!. 1943
Companion
to
Spencer Old Style.
ette and "the iettres batarde"
shown in the Grolier Club edition of Geoffroy Tory's
Champ Fleury... came to my
mind."
He
found "'exactly what I wanted." Tory Te.xt
said that in
is
one of Tor>"s alphabets he
not. however, a copy of any of the Torv"
tv-pes.
abcbefghi)klmnopqr0tuipw^
^pcakin^ of earlier
tyi^^, (5out);p 9Q.y?
'Che olb fellows stole all of our be;5t ^t^9.
Strathmore Title [ncj, 1929
Trajan Title, 1930
This was made for Goudy's ow-n convenience when he was designing a booklet
The
the Strathmore Paper
Company about
their~01d Strathmore" paper.
entire alphabet of ca[)ilals. but cut only fourteen letters l)efore he
for
from an inscription
which Goudy had seen twenty years
He drew an
abandoned
face derives
it
it.
for the Limited Editions
a capital font for a
list
earlier.
Column in Rome,
He had made some letters based on
base of Trajans
Club Rip Ian Winkle. Later he was asked
of subscribers to the building of the
Forest Hills Gardens, and he
STRATHMORE
at the
aCLR
C D
made
E F
to design
Community House in
the Trajan.
GH
KL MN O
STUVWXYZ&
1234567890.,'FWG SAYS THE OLD FELLOWS
OLD STRATFORD
BOOK PAPERS
STOLE ALL OF
OUR BEST IDEAS
1930
Textbook Old Style I ncj, 1934
Truesdell,
See
Goudy designed this face for The Colophon No. 5 and gave it his mother's maiden
name. He claimed the capitals "follow more or less" the letters of early scribes.
.Atlantis.
ABCDEFGHIJKLMXOP
dRSTUVWXYZGr. /;:!?abcdefghijklmnop qrstu
ff
61 ft C ( L
V w X y z
fi
ffi
fl
ffl
1234567890
Speaking of earlier types, Goudy says:
The
^!m V.
136
".T.-U
old fellows ^tole
>v-.-,V\/i'*.i
all
of our
be^
THE WHOLE WORKS

nnamed
1896
Truesdell I la lie. 1930
Coniiianion tace to Truesdell.
The second set of drawings sent to the Dickinson Type Foundry, after it had issued
Camelot. Goudy said it was slightlv inclined but not a true italic. It was never cast.
ncj.
ABCDEFGHIJKIMNOP
^RSTuvw XYZ & :a^C
ahcdcfghijklmnopq
r s
tuv
wxyzvyfiffflfflaa. /;:!?'
Speaking of earlier
The
types,
Goudy
says:
old fellows Hole all of our beil ideas.
Unnamed
University of California Old St vie. 1938

^Tien thedirector of the University of California Press asked Goudy foraproprietarv face for the universitv.
had drawn, and

1937.
for
Goudv intended
which he had cut almost
to give
all
him
the Pax tvpe. w hich he
the master patterns, in
[ncj. 1917?
Goudy had zinc etchings made ofthis face and drew a proof from them. He decided the face was not good and
1936 or
it
was not further develo[)ed. Tlie drawings are
in
the Librarv of Congress.
The origin of Pax is odd. At an L Ister-Irish Society dinner someone suggest-
ed Goudy make a type "that had something to do with peace." Anyway, he was
disgusted with the proofs of that type and
made
the designs for I niversitv of
California Old Style and cut the patterns at breakneck speed.
PQRSTUVWXYZ&.;^:;!?
PCK MY BX WITH
FV DZN JUGS LQR
quick brown fog day
i2&lmjvzsii
BARDOE peath^ g
ABCDEFGHIJKLMNO
vwxyz&fffiiflfflaa^CEgeoe
1234567890
University of California
Companion
capitals
and
face to the
a
Old Style
Old
Italic.
Unnamed [ncj, 1930?

One of two sets of unnamed
1938
Style. For the italic face
Goudv did a number of swash
know how
few for the lower case.
far
he assumed they were
ahc dcf g]iij]zlmnop([r stuvM/ xy z.
fijfjljfiffl'A^C^^S^'^'^9^^
Spcalzing of earlier types,
The
Goudy says:
old fellows stole all of our best ideas.
137
designs destroved in the 1939
fire.
Goudv did
not
along either was. hut he had assigned them work ninnbers and so
at least partlv
completed.
::
CHAPTER EIGHT
Unnamed
Village No. 2, 1932
fncj, 1930?
Goudv
See previous entry.
said that ever since
Sherman bought
the original \ illage tvpe he had
making corrections of some features. The No. 2 he designed fora reprinting of Theodore L. De\ inne"s The Old and The .\eu: Lanston
wanted
to design another,
Monotype bought
a fight betw een
sizes
it
and cut
it
in
fourteen and eighteen point. But then there was
Goudy and Lanston over some
details of reproduction, so other
were not cut.
ABCDEFGHIJKLMNOP
Q^R STUVWXYZ&ABCDE
FGHIJKLMNOP Q_R STUVWXYZ
wxyz; fiffffiflffl 1234567890
The
to
accompany
his Venezia
was based entirely on a French
Goudy
Companion
was made at the request of the London designer and typographer George
^. Jones,
all
says
of our best ideas.
Village Italic, 1934
Venezia Italic, 1925

Tliis face
old fellows stole
Goudy
italic
insisted, however, that he
roman. Stanley Morison

font cut by
said
face to \ illage No. 2.
Goudy"s face
Claude Garamond around L535.
had made the design with reference onlv
to
Jones' roman.
De
IS
Prxparatione Evangeltca of Eusebius

generally considered Jensons first book.
ABCDEFGHIJKLMNOP
ABCDEFGHIJKLMNOP
QRSTUVWXYZ
Q^RSTUVWXYZ&ahcdefg
/E CE
hijklmnop qrstuvwxyz,d^jfffl
abcdefghijklmnopqrs
t
u V
X y Z
2e
Speaking of earlier
oe
The
Village,
would be loo expensive
to
Kuppenheimer clothing
firm,
w hich then decided
make, the face was based. Goudy
said,
it
on "the types of
Jenson. as e.vhibited in Morris' Golden type, the Doves. Montaigne. .Merrymount.
and types of that

of Frederick
ilk."
Sherman
That
is
a ver)^ large
ilk.
The matrices became
the property
evfiiluallv.
ÎT WAS THE TERRACE OF

God's house
That she was landing on,
By God
over the sheer depth

In which Space is begun;
built
So high, that looking downward
138
Goudy says
old fellows stole all of our best ideas.
1903
Originally designed for the
types,
^^4^^
,-
'^
iC.
tj
id
V\
I
'/
TjT^rjTJTT
NOTES
1.
This and the following remarks by Horace Hart. Herbert Johnson.
Alexander Lawson. and Robert Leslie come from
phone conversations with the author
in
intervie\\ s or tele-
1986-87.
Joseph Blumenthal. The Printed Book
2.
(Chicago:
in
Peter Bielenson. The Story of Frederic W.
spective Exhibition
America (Boston:
Goudy
The Lanston Monotvpe Machine Company [Printed
9.
The book
(Philadelphia:
The Distaff
for
4.
Telephone conversation with the author, Januarv 1987.
.5.
L nless otherwise noted, the material in this chapter
10.
is
drawn irom
reading of all the
write Typologia
said, that
Cali-
gers
\\
hat
he used his previous pronouncements to
and even quoted verbatim large sections of his own
him
details of Goudv's life
and most of the things
as set forth in this chapter are
Goudy
>s
14.
said bv or about
listed
Collection. Library of Congress. \âsh-
15.
Emmons.
1938).
of The Village Press Celebrated July Twenty1938 (New York: The Maverick Press. 1938).
Unpublished typescript of a life of Goudy by Howard Coggeshall

Carv collection. Rochester Institute of Technologv.
Arthur Rushmore
16.
The Hart volume
volumes on types
turies
with people
who remember Goudy and
fortunately, can be
knowledgments. Most of the information and the quotations, unless
Village Press
Bertha
S.
(\ew ôrk: The
Goudy.
First
the following books: Bielen-
B. Gary,
Jr.,
Printing: Retnembrances of the
Best (Marlboro-on-Hudson. N.Y.: The Village
Press, 1939): Frederic
\^".
Goudv.
A Half Century
and Typography, 1895-1945 (New York: The
of Type Design
delphia:
ell
lections
The
ing Types
\^'ill
Four Cen-
found
It is
to
the
1922 (Lon-
not as rare as the Hart, but. un-
in only a small
number of libraries. More
The Typographic Book. 1450-1935 by Morison and
History.
Forms and Lse:
Press, 1963). Print-
Study
in
Survivals
is
a verv
good reference, but not
all its
illustrations are
more recent
ones.
The problem with
the recent publications
in offset rather than letterpress
and
is
that
will not give a
reader a chance to judge the impression of the type.
(Phila-
17.
See Robert D. Harban. Chapter Xine (New York: The Typo-
philes. 1982).
Ransom]. Intimate Recol-
Goudy: Master of Letters
far is Stanley Morison's
many other
volumes of reproductions of old tN'pes. several bv Morison and many
of The Village Press by Three Friends (Marlborough. N.Y.:
\ illage Press. 1938): Vrest Orton.
Goudy col-
extremelv rare now. But there are several
Ltd.. 1924).
Their
Press. 1937)
The Lanston Monotvpe Machine Companv. 1947); [Mitch-
Kennerley. Charles E. Park, and
is
Kenneth Dav (Chicago: Lniversitv of Chicago
Monotype
Company, 1920-1939. Typographic Counsel. 1939-1947
is
Benn
most are printed
Typophiles, 1946):
Frederic W'îlliam Goudy. Art Director to the Lanston
1947,
extensive enough to give one a whole alphabet. There are
W. Goudy, Bertha M. Goudy: Recollections by One
Who Knew Her
1.3.
bv Daniel Berkelev Lpdike (Cambridge. Mass.: Harvard Lniversity
Distaff Side of the Village Press (New York: The Distaff Side.
19.58): Frederic
accessible
Bibliography of the
Press of the Xôolly \^liale. 1938):
Lady of
May
Works of Presses Established During the Years 1500

don: Ernest
^sho are listed in the ac-
[?].
ofFine Printing Upwards ofSix Hundred Examples of
New York. A verv few details are drawn from interviews
of Goudy: Melbert
Paul Bennett
that illustrate not only the Fell, but virtually every
Technologv.
son, Story
to
lection, Librarv of Congress.
Melbert B. Gary Graphic Arts Collection. Rochester Institute of
come from
Goudy From Bruce Ro-
the Celebration of the Thirty-fifth Anniversary of
important typeface. The best by
ew York; and unpublished typescripts in the
otherwise acknowledged,
Letter to Frederic W.
fifth Anniversary
in the
drawn from the books
An Open
Done for
third,
ington. D.C., and the Melbert B. Carv Collection of Goudvana.
Grolier Club Library.
Club Librarv.
Son of a Goudy. An Open Letter to Frederic W. Goudy From His

Xearest Kin and Severest Critic Fred T. Goudy, Donefor the Thirty-
below: magazine and newspaper articles, notes, and letters in the

Frederic and Bertha
collection in the Grolier
Reply:
Earl H.
Frederic ^. Goudv, Type Revivals (Lexington. \a.: Journalism
The
an undated, unsigned typescript in the Gary
in
is
13.
Laboratorv Press. \âshington and Lee Lniversitv. 1937).

7.
Club Library.
in the Grolier
The Village Press. July Twenty-third. 1938 (New York: Printed by
writing (especially from Ars Typographica) in that book.

6.
Retro-
See David McKitterick, editor, Stanley Morison and D. B.
12. In
Goudy
speeches in the collection of the Library of Congress will reveal
Goudv himself
is
The account
Goudvana
and The Alphabet and Elements of Lettering
Press,
Updike: Selected Correspondence (London: Tlie Scolar Press, 1972).
Goudv's Typologia (Berkelev and Los Angeles: Lniversitv of
Publications. 1963).
The Village
(New ôrk: The American Institute
Orton, Goudy: Master of Letters.
11.
(New York: Dover
90.5-7 93.3
8.
Side]. 1939).
fornia Press, 1940)
Press, 1939);
of Graphic Arts. 19.33).
David R. Godine. 1977).

3.
The Black Cat
141
18. \^ alter Tracy. Letters
of Credit:
View of Type Design (Boston:
View of Type Design (Boston:

18.
X'i
alter Tracy, Letters
of Credit:
:jn'
Illustrations
and samples of
Cambridge
Cit)- Baken.-.
-X
standards
for.
The Door
48
typefaces are indicated with
Camelot Press, ad
Advertisers'
Modem, 118
Caslon. 31-2. 55
Advertisers'
Roman. 118
Goudys work
Caxton.
in.
Caxton
Champ Fleun.
44^51. 76. 87. 109
95
Wall and
in the
27
Dwiggins.
120
\^; A.. 51. 74.
Earl. 68.
The Alphabet and Elements of
Chicago, as design center in
Endeavor
t}-pe.
34, 56. 59. 78-Sl. 78
the 1890s.
Institute of Archi-
tecture.
Gold Medal. 60
88
42^. 49
39
Fleuron, 59. 62, 101
120
Forum
Cobden-Sanderson. Charles
Title. 55. 115.
123
American
Institute of
James. 44. 97-8
Graphic
Gold Medal. 60. 112
cago. 1893. 42.
Companion Old
Aries. 110. 118, 123
Typographica, 27. 56. 59.

74. 82. 85.
120
118.
Style.
Garamond.
120
136
Auditorium Theater. Chicago.
De
Garamont,
Italic,
121
106. 117. 118
mill).
Hammer.
115. 124
to.
65
51.
Victor. 123
\\Yt. 49.
71
Lniversity. 66.
129
Heger. Frank.
66-8. 69, 71, 72, 78. 84
Hingham. Massachusetts. 67
move
to.
14
51
Holbein. Hans. 99
\^..
14, 16, 17,
24. 28-9. 40-1, 52-4, 56.
Holme. Frank.
49.
50
Hoyem. Andrew, 25
60-1, 63, 66-7, 73, 88-90,
Deepdene
t\-pefaces, 18,
20-1,
Bielenson. Peter. 63
22-.5,65. 115. i2i-2, 128,
Blumenthal. Joseph. 15
132
92-.3, 95,
life of.
lowercase, 19,
Booklet Old Style. 119
uppercase, 24^5
design:
Bradlev. Will, 44, 45. 82
Bauhaus. 17
Bridges. Robert. 105-6
Deepdene
Bullen. Henn. Lewis. 60. 98.
in the
1890s, 42-3
good.
Goudy
salon.
initials,
41-73
56
on. 31-3. 36-8.
95
Hingham. 51
drawings
of,
48, 74,
127
Goudy Antique, 120, 124, 125

Goudy Bible. 106
Goudy Bold Face. 124
Goudy Book, 124
Goudy Cursive, 124
Goudy Dutch. 125
"The Goudy Familv." 101
Goudy Friar. 72, 94. 95. 123
Goudy Heax"\" Face. 125
Goudy Italic, 125
22-5
Bodoni- 31-2. 99. 109
113-15
Hebrew
71. 72.
53. 54, 54-5. 63. 65. 66.
Goudy. Frederic
to. .56
in
"Hearst"
67. 132
Deepdene Rd.. Queens, move
Bulmer, William. 84
53. Ill
Goudy, Frederic T. 48. 66-7.
64-5
move
10.3.
Goudy. Bertha. 44. 45. 48.
71-2
mill.
Benton. Morris, 31, 98. 101
99
Globe Gothic Bold. 123
Hasbrouk. 129
45. 122
house. 63, 66
Booklet Press. 44
and Typography.
Good King Wenceslas.

Goudy, Alice, 66, 68
De Vinne Roman.
Bayer. Herbert. Universal low-
Bertham. 68, 71, 72,119
Gimbel. 131
Hart. Horace. 16
Goudy's workshop. 62-3
Bennett. Paul. 53
Half-Century of Type Design
Golden. 39. 50. 101. 138
Bauhaus. 17
98
30
fire.
Beardsley. Aubrey. 45.
Hadriano. 55. 129
59, 61, 96, 103,
Goethe. 65.
Baskerx-iUe. 31-2. 55
37
102
59.
evangelica praeparatione.
Marlboro-on-Hudson:
ercase only.
"Granite and C}-press." 101.
105, 105, 123
Deepdene (house and
43
104
103
A>hbee. C. R.. 38. 39

Atlantis. 119, 124, 129, 131.
61. 84.
Garamond. Claude. 31-2.
49
Gushing
56
72. 106. 110.
123
Curtis Publishing Co.. booklet

for.
Grabhom. Edwin.
42
Copperplate Gothic. 121
Art Students" League. Manhat-
Goudy Open. 56. 10.3. 126

Goudv Roman. 127
Goudy Stout. 127
Goudy Text. 65. 115. 127
Goudy Thirty. 59, 127
Goudy Ton.-. 72, 132
Goudy Lncials. 127
Goudytype. 127
123
Futura. 130
Crane. Stephen. 45
115
Art Nouveau. 109
tan.
Style. 56.
Franciscan. 96, 110-11, 110.
Columbian Exposition. Chi-
67
Old
Collier
Amherst Club, dinner. 1939.
Ar.s
France. Anatole. 45
Coggeshall. Howard. 61, 67. 72
Arts.84. 101. 110
12.5.
126, 131
Fables in Spring, 50
Cloister Initials.
Style. 54. 56. 60,
96, 99. 100. 101. 101.
Everson. William. 103
32
18. 59. 72. 82.
96. 10.5-6. 106. 115. 126
72
classicism. Goudy"s definition.
American Cat Xeus, 50. 50

American
84.
Goudy Old
Emmons.
32,
Goudy Newstyle.
109. 110
The Chap-Booh. 44^5. 45. 82
27^.
126
Dwiggins. Mabel. 51. 53. 67
45. 132
101,
102, 103, 103. 124. 125.
Alden. Richard Coe. 43-4
Lettering, 26-8,
Goudv Lanston. 56. 125

Goudy Light. 54. 131
Goudy Modem. 18. 56. 96,
76.78
45. 45
for.
Diirer. Albrecht.
Vi illiam.
Initials.
of, 93.
Other Stories, 55. 56. 74-5.
Camelot. 45. 119, 137
italic figures.
advertising.
ad
142}
.^*
The Inland
Printer. 44. 46-7.
S6
84.
"An Innovation
in Letter
Founding." 59
Inscription Greek. 128
Italian
Old
Style. 18. 59-60.
96, 106. 107-8. 109. 115.
128
Jannon. Jean. 59
Rasselas, 36
Janson. 99
MiUvale. 131
Jaugeon. projection of capitals
modern, tvpe
onto squares. 37, 38

Jensen, Nicolaus. 18, 30, 31,
109
33, 50, 59, 98-9,
Goudy's drawings of Jenson's
readability,
classification.
Record
defined. 22
Modern
Advertising, 44,
44
91,
Morison, Stanley, 27, 39, 55,
103
42
Johnston. Edward. 18
Morris, William, 16, 31, 38, 39,
54. 54. 112.
138
76, 90. 91, 97, 101.
Junior Advertising Ckd), Los

Angeles, 1939, 60
Kaatskill. 72.
128
Kabel. 130
Mosher, Thomas
B.,
130
60. 75. 76.

fount.
84
39
Klaxon. 103. 116-17. 130
Koch, Rudolf. 88. 90-2. 123
Moxon. Joseph, 27-8
Ruskin. John, 16, 42
Village Text. 132
collection, 71, 72,
87
Sans Serif Heavy. 134
School of Illustration. Chicago.
103. 124
Capitals,
132
Ao/e on Letter-Design and
82
'illage Types,
Scripps College Old Style, 135
Vale, 39, 44, 101
Sherman. 135
Venezia
The Songs and Poems of Sir
Verlaine, Paul,
98
John Suckling, 44
Songs and Verses Selected
originality,
Goudy
Title.
from
on. 31. 50
Goudy Types," 72
Lowe, Cyril, 56
Lutetia, 23,
the Works
of Edmund
Waller, Esq.. 76. 78
133
Spencer Old
orthography. English. 105
Style. 135. 136
Sprinks. Bertha Matilda, see
Orton, Vrest. 41, 42
Goudy, Bertha
Stone, Herbert
Park. Charles. 51
The Story of the Glittering

Plain, 43
106
Motor Co., ad
Peerless
for,
Plantin, Christoph. 76-8,

Pollard. Alfred
44, 50
S..
X^t'..
87
84
Strathmore
style, defined,
54
48
138
X'illage Letter
Foundery, 56, 59
Village No. 2. 65, 72.
138
\'illage Press, 16, 28, 50, 51,
53, 55, 62, 65-8, 78, 82,
fires,
54, 71-2, 117-19, 125.
127. 129, 131,
move
to
printer's
Title,
45
Vest Pocket series,

Village,
138
Italic, 115,
117
Pabst, 49-50. 133
Pax. 133. 137
50
88-90. 99.
49-51
Stern, Alexander, 112
Lonibardic Capitals, 130
Updike, Daniel Berkeley. 39,
Norman
Lining Gothic. 130
Lozier, Lewis Hogarth,
137
53, 61-2. 68.
Ornate
Goudy
Style. 70. 71. 81. 87, 133,
Sans Serif Light, 135
91-3
University of California Old
Newberry Library. 44
the
95
44
134
old style, defined, 22
Library of Congress,
"Lost
72, 81, 82-3,
Saks-Goudy, 96. 109. 109-10,
"Le Bonheur de ce monde,"
Leslie, Dr. Robert. 16
typography, good, Goudy's
Typologia, 28, 36, 38, 70, 71,
Nadal. Berne. 45
Press, Oxford,
Goudy on, 36-8
design, 95
rules for, 38,
"Saks Fifth Avenue,'' 109
Lawson, Alexander. 16
type, digitized, standards of
Typophiles, 16, 72, 117
raphy at the University
legibility,
Truesdell, 136. 137
Nabisco, 132
68
84. 99. 103, 105, 106, 127
Rushmore. Arthur, 72
Lanston Monotype, 59. 91, 105
to B.M.G.,"
Typographica, 57-9, 59, 82,
Motteroz. 39
Notes on a Century of Typog-
/ .
"A Tribute
136
136-8
Manhattan. 53
mark, 51
Vox, Maximilian, 22
38
Sullivan, Louis,
42-3
Walker. Sir Emery, 42, 54, 54,
machines. Goudv on, 95
Pont, Charles E., 65, 114
Marlborough. 115. 130
Powell, 133
T & T Imprint. 87
Marlborough Text. 131
Printing, 51
Textbook Old
Mediaeval. 72.96. 110, 110,
printing, good. Goudy's rules
Thomas. Lowell, 68
Wiebking, Robert, 63
Times Roman, 39
Wright, Frank Lloyd, 42
131
for.
38, 59,
110
95
Mercury, 131
Quinan Old
Style.
133
123
Millard, George,
Style,
Welles, Clara Barck. 42
136
Wells, H. G., 45, 55
Tory, Geoffroy. 27, 109.110
Meynell, Sir Francis. 101. 115.
44
Ransom,
22
123
Rusher, Phillip. 36, 38
New
55. 123, 136
"The Type Speaks." 23, 68, 71
Mostert. 132
National. 132
Kennerley. Mitchell, 52. 53-5.
Column. Rome, 34^5,
74.84.88. 106,109, 111,
Saints and Sinners Corner,
97-9, 98-100. 101. 128,
97
Murchison, 132
Kennerley, 55, 75, 78, 96.
Kings
38,
Rudge. William Edwin, 23, 56
Kelmscott Press. 44
129,
W,
Root. Robert. 41. 42
48
on. 31-3
Trattato di scientia d'arme,
50, 53, 53. 60. 61, 63, 67,
42, 42, 44, 50. 51, 54. 55,
115
134
Goudy
Trajan Title, 34, 65, 72, 136

Trajan's
Rogers, Bruce, 16, 23, 31, 49,
Morris. May.
\^..
134
39. 44, 45. 55. 84.
Johnson. John, 54
Jones. George
Title,
36-8
on,
Ricketts, Sir Charles
59. 61-2. 88. 90. 97. 101.
Johnson. Herbert. 16
Goudy
Remington Typewriter, 65-6,
Monotype. 38-E. 54. 131
work. 31
tradition,
Will. 28. 51.
67
Tory Text, 110, 136
Zenner, Alfred, 45, 48
Toulouse-Lautrec, Henri de, 45
Zenner Disinfectant Co., ad
Tracy, Walter, 23. 124
143
for.
49
DOCUMENTS OF
AMERICAN DESIGN
Documents ofAmerican Design
is
a nonprofit corporation es-
tablished in
1984 by
group of
Ken
Hinrichs of Pentagram.
Lieberman of Ken Lieberman

Labs.
The National Endowment
for the Arts,
and educators to assess and preserve the record of American
ton of James Stockton
&
Samuel N. Antupit
Chicago Architectural Photo-
Boston Public Library. 86
graphing Company. 43 (top)
Columbia L Diversity Rare Book

and Manuscript Library. New
Sevmour Chwast
ciates.
\ork. 3+-35
Art Resource.
Richard Coyne
Asso-
New
Board of Directors of
Documents of American Design
Peter Bradford. Treasurer
and James Stock-
graphic designers, art directors,
CREDITS
York. 87 (right)
Alvin Eisenman
Its projects in-
Contributor? to the develup-
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ment oi Documents of American Design and this book in-
Steven Heller. Secretary
Mas-
clude Jennifer Antupit. Mary
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(top).
series.
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40-41. 44. 45 (top). 46.
The first \\asBrodoiitch by Andy
Kathv Corrigan, Dan Erkkila,
Grundberg.
Annie Fink.
graphic design.
books, of which Frederic Gaudy

is
the second book
ters of American
in the
Design
These undertakings are
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Alan Green, David
and general audiences and
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Amy K. Hughes. Bill N.
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histon' and role of graphic design
ava.
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dations, Rare
Inc..
117.
Silas
Book Room, 102
the
Hiram Halle Memorial
ogy (Melbert B. Car> Graphics
Rhodes
24 (bottom
Nan Rosenthal
Li-
brary.
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rate credits for
Dr. Frank Stanton
work appearing
Richard Covne of Communica-
this
book, we apologize for any
tion Arts magazine, Carl Fis-
oversights. Errors will be cor-
\^
right). 41 (all).
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45
Museum, London. 43
(bottom). 54 (top right)
Lisa Tavlor
Dietmar
\ork.
bottom), 66. 67. 73. 89. 90-91,
St. Bride's
Arthur Tarlow
in
New
92. 92-93. 95 (right)
James Stockton
our sponsors
New
Rochester Institute of Technol-
Arts Collection).
for all
Alvin Grossman. Kit
Lenox and Tilden Foun-
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N. Lacv
of Sorts Letter Founders, and
Public Library. Tlie
Irving Oaklander Books.
Kovner
Cipe Pineles
and
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140
New York
Linda Eger. Pat Taylor of Out
Coyne and
table Trust. Jean
114. 115. 116.
Phvllis \^ ender of Rosenstone-
Advancement of
Cow les
11.3.
don. 42 (bottom). 54 (top right)
made to include proper and accu-
Science and Art.
(bot-
National Portrait Gallery. Lon-
^"hile ever\ attempt has been
for the
98
Gene Federico
Corporation. The Cooper
Union
(left).
105. 106. 1U7. 108. 109. 110
face
95
Schuler. Arthur Tarlow. and
Bill
Bums and the International Type-
64-65. 65 (both).
(all).
Lou Dorfsman
Cordes of Cordes Printing.
Oiu" benefactors include Aaron
(both). 61.
Michael Saridis. Debora K.
Russell Kraus
are verv grateful to them.
56
Louis Danziger
we would like to thank Norman
ê
60
(both).
terson and \ôod. Jiulith Rew.
\ ictor
advice and contributions,
48
47.
tom). 99 (bottom). 101. 103.
Ivan Chermayeff
of Pat-
Frederic Goudy for publication,
could not happen without their
63
87(left). 94.
of American Design
David Brown
and support. This

that follow
54 (bottom). 55
62.
For their help in preparing
book and the books
19.
17.
12. 14.
20-21. 23
28-29. 31. 34 (bottom).
(both). 57. 58. 59.
Director
dividuals and organizations for

their help
53.
L.
further the knowledge of the
Susan B. Moore. Peg
16 (both).
Sarah Bodine. Editorial
Mever. Souzzi. English, ami

Klein.
ton.D.C..2.3.4^5.6.7.
H(){ikin>. President
ill
(both). 49 (both). 50. 51. 52-53.
Patricia Galteri of
tended to inform professional

to
\^
Lil)rary of Congress. Viashing-
All of the
showings of Goudy
typefaces in chapter eight.
inkier
\Miole ^'orks,
come from Paul
Half-Century of
\.
Bennett.
Type Design
rected in future editions.
2nd
Hinrichs. Neil Shakerv, and Linda
The
ed.
and Typography.
(New
Rochelle.
New
York: Myriade Press 1978).

with the exception of Globe
Gothic Bold,
Goudy Antique,
and Sans Serif Heavy, which
come from
144
the Library of Con-
Fine printin
type withoui
one that is easi
ly readable, masculi
and not made to display
but inêad to help the reader. Type mu^ be easy to

read, graceful, but not weak; decorative, but not op
nate; beautiful in itself and in composition; auêre
and formal, with no âle or unintereîng regularity
Its irregular parts; simple in design, but not v/ith t he
bastard simplicity of form which is mere crudity of
A me
Masters of
Fredt:.c
Goudy
Design
lit
'"otn
the second of a sei
is
biographies on the seminal figuK
critical
century American design. Previously published

Brodovitch by
dema
mann
r
5
Andy Grundberg. This
series
is
is
being
prepared under the auspices of Documents of Ameri-
can Design, a nonprofit organization established in
1984
and assess the record of America's
to preserve
design heritage. The Masters of American Design

ries is
se-
intended for both the professional and general
reader, to further the
knowledge of the history and
role
of graphic design in our culture. Future volumes in the

series will include Will Bradley,
Saul Bass, and Will
Burtin.
About the Author

D.
J.
R. Bruckner
is
an editor of The
New
York Times
Book Review. He has been
a reporter, columnist,
and
editor on three newspapers
and was vice president
for
public affairs
at the
University of Chicago.
He
is
the
author of two books, Art Against War: Four Centuries
of Antiwar Art (1984) and Dreams in Stone: The

University of Chicago (1976), and he writes on design
^ and pL
for various journals.
Jacket front
Text face set in Kennerley,
a Goudy face translated digitally by
Richard Beatty
Swash
e, its
forms
courtesy of the
Library of Congress, Frederic

Cloister Initial
digitally by
Giampa
Goudy
Collection
E translated
Text Ware Corporation
for Lanston Type
Company
Ltd.
Jacket back
le skill of the
Photograph courtesy of
Rochester Institute of Technology
Typeface
list set in
Goudy face
Kennerley,
translated digitally by
Richard Beatty
Yearly figures set in
outline; elegant, that
form;
letter
is,
grac
and above all it mu^ p
quality
we call ''art" that
Goudy Newstyle,
a Goudy face translated digitally

by Judith Sutcliffe
Harry N. Abrams,
100
Fifth
Inc.
Avenue
NewYork,N.Y. 10011
from the spirit the designer

thebody of his work. Frederi
]
ABCDEFGHIJKLMNC
Printed in Japan
T^ A
..i-rrERPLATE
-DISPLAY-
ROMAN. DE\1NNE ROMAN
P^ =^-^
OOMAN
PABST rTALIC POWELL VILLAGE GUSHING ITALIC BOSTON
GOTHICS CAXTON INITIALS GLOBE GOTHIC BOLD CASLON REVISED MONOTYPE NO
58-E
MONOTYPE NO
NEWS LETTER ENGR.AVERS ROMAN.
IQl'^
w
38-E ITALIC
NORMAN
CAPITALS. KENNER
1911
IQIS
1Q12
LEY OLD STYLE KENNERLEY OPEN CAPS
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Frederic Goudy (Type Design Art Ebook)

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Frederic Goudy (Type Design Art Ebook)

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SWASH LETTER STUDIES

PWRIN COUNTY FREE LIBRARY

rty when he fir^

r^efore he counted himself a profes^J ^^^^ ORNATE TITLE

sional type designer,

^t by the end of his long life

the world. This eccentric

more than a hundred faces, including perhaps a

GOUDY TEXT SHADED

was an exasperating loner, but he used

brity to simulate A^enliven debates about type

^ typography that amounted to a kind of national

^hetics oftype design.

MASTERS OF AMERICAN DESIGN

Goudy was the outstanding American designer

of typefaces, and one of the leading t\-pe makers in history.

he was a widely read com-

mentator on design and esthetics, a popular speaker

opinions, and eyen the subject of a Hollywood movie.

study of this extraordinary man,

the Gilded Age;

counted himself a professional

commercial margins of the

booming American Midwest of

Press, one of the great private presses of this century.

to life the lost

printing and design as

existed during Goudy's long

his early years in

watershed of the 1890s, when the distinction between

and printer hardly

acquisition, at 60. of his

of his greatest faces.

offers a searching assessment of

achievement, analyzing his esthetics and practices,

of which are printed in two col-

numerous examples of how Goudy composed

to printed samples, as well as

many examples of his page designs and photographs of

graphic designers, and for them, Bruckner has

central struggle of Goudy's

long battle for order and clarity in the printed

one whose outcome

has shifted elsewhere.

thoroughgoing has been the

American design since World War

major force in type design

that the very idea that the

hilf of this century

was an American, indeed,

'^Vst after the Civil War," will be a

revelation even to knowledgeable readers.

Type mu^ be easy to

in doubt, but the

influence of European modernism, and particularly

weak; decorative, but not orand in composition; au^ere

form; and aL^

quality v/e call "art

from the spirit the designer puts unconsciously into

MASTERS OF AMERICAN DESIGN

ABRAMS. INC.. PUBLISHERS

FOR DOCUMENTS OF AMERICAN DESIGN

Editor: Sarah Bodine