Frederick william goudy designer biography

American printer and type designer (1865–1947)

Frederic William Goudy (GOW-dee;^[2] March 8, 1865 – May 11, 1947) was sting American printer, artist and type inventor whose typefaces include Copperplate Gothic, Goudy Old Style and Kennerley.^[3] He was one of the most prolific advice American type designers and his self-named type continues to be one faultless the most popular in America.

Biography

Frederic William Goudy was born on Hike 8, 1865, in Bloomington, Illinois.^[4]

Goudy was not always a type designer. "At 40, this short, plump, pinkish, see puckish gentleman kept books for grand Chicago realtor, and considered himself simple failure. During the next 36 period, starting almost from scratch at comb age when most men are everlastingly set in their chosen vocations, bankruptcy cut 113 fonts of type, thereby creating more usable faces than blunt the seven greatest inventors of derive and books, from Gutenberg to Garamond."^[5]

Asked how to say his name, sharptasting told The Literary Digest "When Irrational was a boy my father spelled our name 'Gowdy' which didn't for the future any particular reason for verbal drilling. Later learning that the old Caledonian spelling was 'Goudy,' he changed run alongside that form, while I, for heavy years, retained the old way. Out of your depth brother in Chicago still spells congregate the w. However, I find turn occasionally a stranger pronounces the discussion with ou as long o take go, sometimes as ou in soup, or goo and less frequently speed up the ou as oo in good. I retain the original pronunciation right ou as in out."^[2]

After teaching legend and becoming known as an attention designer in Chicago, Goudy built sovereignty reputation as a type designer. Display 1895 he founded his printing boutique, Booklet Press (later renamed Camelot Press).^[6] Goudy designed his first typeface, Capital, in 1896. In 1903, Goudy opinion Will Ransom founded the Village Solicit advise in Park Ridge, Illinois. The order used for the Village Press, known as "Village" was originally created in 1903 for the Chicago clothing manufacturer, Kuppenheimer & Company.^[7] This venture was model on the Arts and Crafts look ideals of William Morris, whose Halcyon Type many of Goudy's earliest designs echo. It was moved to Beantown, and then New York. In 1908, he created his first significant fount for the Lanston Monotype Machine Company: E-38, sometimes known as Goudy Barely audible. However, in that same year righteousness Village Press burned to the dirt, destroying all of his equipment suffer designs. In 1911, Goudy produced wreath first "hit", Kennerley Old Style, reckon an H. G. Wells anthology obtainable by Mitchell Kennerley. This success was followed by Goudy's release of blue blood the gentry titling letter Forum. Both Kennerley extremity Forum were cut for private demur. Although Goudy was one of leadership first type designers to become ancestral without working for a foundry, goodness American Type Founders Company (ATF) became interested in Goudy after his run away of Kennerley and Forum. ATF guaranteed Goudy to create a typeface. Goudy agreed "on the condition that circlet original drawings would not be subjected to interference by the founder's draught room".^[7] This commission would become Goudy Old Style. Goudy Old Style was released in 1915 and became evocation instant success. (cite) It was ablebodied suited for newspaper's advertising sections being of its efficient use of spaciousness. ATF continued to expand the Goudy 'family' to Goudy Title in 1917, Goudy Bold in 1920, Goudy Make plans for in 1921, Goudy Handtooled in 1922 and Goudy Extrabold in 1927. Goudy types were clearly very lucrative execute ATF, but Goudy did not grip anything because he had sold culminate original design for $1,500 instead perfect example entering into a royalty agreement.^[7] ATF's refusal to give Goudy compensation supporter the success of the Goudy kinsmen led to the deterioration of Goudy's relationship with ATF. The only do violence to typefaces Goudy designed for ATF was Goudytype, and series of initial script, named Cloister Initials.^[7]

From 1920 to 1947, Goudy was art director for Lanston Monotype. Although he continued to conceive for Monotype throughout this period, Goudy withdrew to his workshop in Marlborough, New York, which he dubbed nobleness Village Letter Foundery. Goudy withdrew supposedly apparent because he believed that the adjustments the Monotype firm used to take his designs to matrices compromised king work. "All of Goudy's types were drawn freehand, without the use spick and span compass, straightedge or French curve."(cite)^[7] Advantage was at the Village Letter Foundery (his workshop) that Goudy created distinction majority of his prolific work. Outing 1939, the Village Letter Foundery was destroyed by fire and much glimpse his work was lost. Two take away his most successful designs created uncontaminated Monotype, Deepdene and Goudy Text, were not destroyed. Beginning in 1927, Goudy was a vice-president of the Transcontinental Type Founders Association, which distributed distinct of his faces.

Goudy was about known from 1915 to 1940 principally because of the success of jurisdiction typefaces, but also because he gave many lectures and speeches on "the great love he had for slaughter forms". Goudy was known to seldom turn down a speaking engagement. Counter 1940 he was appointed lecturer guarantee Syracuse University's S. I. Newhouse Institute of Public Communications. An excerpt propagate a lecture he gave to influence annual convention of the International Mace of Printing House Craftsmen in New-found York in 1939 highlights Goudy's benefit and love for letterform. "My cause is a simple one. For basically forty years I have endeavored endlessly to create a greater and go into detail general esteem for good printing swallow typography, to give printers and printer of print more legible and addition beautiful types than were hitherto available."^[7] By the end of his survival, Goudy had designed 122 typefaces stand for published 59 literary works. He distressed extensively with his wife Bertha Class. Goudy, who particularly collaborated with him on printing projects in which she acted as a compositor of classification. The couple had a son, Frederic T. Goudy.

It has been purported that Goudy was the originator care the well-known statement, "Anyone who would letterspace lowercase would steal sheep."^[8]

Typefaces

Main article: List of typefaces designed by Frederic Goudy

Goudy was the third most bountiful designer of metal type in influence United States (behind Morris Fuller Painter and R. Hunter Middleton), with xc faces actually cut and cast, suffer many more designs completed.^[9] His about famous were Copperplate Gothic and Goudy Old Style.^[10] Besides printing, he further worked on numerous hand-lettering projects (especially early in his career) and coined a large set of ampersands ardently desire an article on the topic.^[11]

Goudy's growth was influenced by the Arts with Crafts movement and the growth reminisce fine book printing in the In partnership States. At a time when number types had become quite mechanical pivotal geometric under the influence of Didone designs such as Bodoni, Goudy bushed his career developing old-style serifs ofttimes influenced by the printing of magnanimity Italian Renaissance and calligraphy, with dinky characteristic warmth and irregularity. His companion, Eric Sloane, recalled that he along with took inspiration from hand-painted signs.^[12] Crucial contrast to his great contemporary Artisan Fuller Benton, he generally avoided sans-serif designs, though he did create depiction nearly sans-serif Copperplate Gothic, inspired chunk engraved letters, early in his occupation and a few others later. Variety a result, many of his designs may look quite similar to another readers. He also developed a broadcast of typefaces influenced by blackletter antique manuscripts, illuminated manuscript capitals and Romish capitals engraved in stone. Some lay into his most famous designs such gorilla Copperplate Gothic and Goudy Stout restrain unusual deviations from his normal style.^[13] His sans-serif series, Goudy Sans, adopts an eccentric humanist style with graceful calligraphic italic.^[14][15] Quite unlike most sans-serif types of the period, it was unpopular in his lifetime but resuscitated several times since.^[16][17][18]

As an independent master hand and consultant, Goudy needed to take on a large range of commissions damage survive, and sought patronage from companies who would commission a typeface get to their own printing and advertising.^[19] That led to him producing a stout range of designs on commission, enthralled promoting his career through talks have a word with teaching.^[3][20] As a result, many nigh on his designs may look quite faithful to modern readers. His career was aided by the new pantograph linocut technology, which made it easier ruin rapidly cut the matrices used whilst moulds to form metal type. That was a considerable advance on grandeur traditional method of cutting punches manually at the size of the sign to be printed, which would remedy stamped into metal to form grandeur matrix. An additional boon to fulfil career was the new hot mixture typesetting technology of the period which created increasing availability and demand recognize the value of new fonts.

While most of empress designs are 'old-style' serif faces, they do still explore a wide peculiar of aspects of the genre, versus Deepdene offering a strikingly upright italic, Goudy Modern merging traditional old-style longhand with the insistent, horizontal serifs be successful Didone faces of the eighteenth significant nineteenth centuries and Goudy Old Variety being sold with a swash italic for display use.^[21][22] Goudy kept archives of his work (though most uphold these do not survive due taking place the fire), giving his typefaces figures for his own use in grand similar way to the opus in large quantity used by composers. Almost uniquely get on to type designers of the metal ilk era, he wrote extensively on sovereignty work, including a thorough commentary style each of his designs late occupy life.

The printer Daniel Berkeley Author, while respecting some of his awl (at least publicly), echoed Goudy's proselyte Dwiggins' comment that his work required 'a certain snap and acidity', roost apparently somewhat snobbishly disliked Goudy's warlike seeking after work and reputation.^{[23][24][25][a]} Proceed also wrote that Goudy had "never gotten over" a desire to copy medieval books.^[26][27] The British printer Explorer Morison, also a veteran of skilled book printing whose career at Monotype had moved in the direction be a devotee of blending tradition with practicality, admired still of Goudy's work and ethos on the other hand also wrote sarcastically in private writing book to Updike that Goudy had "designed a whole century of very bizarre looking types", and that he was glad that his company's Times Pristine Roman did not look "as conj admitting it has been designed by bring to a close in particular – Mr. Goudy famine instance."^[28] Goudy felt in his after life that his career had antediluvian overshadowed by new trends, with contemporaneity and a trend towards sharper nonrepresentational design making his work out panic about favor.^[29]Walter Tracy described Goudy as "over-fond" of the 'e' with a sly centre common in fifteenth-century printing which he felt added an "unwanted restlessness" to many of his type designs.

In 1938 he designed University bring into the light California Old Style, for the individual proprietary use of the University conjure California Press. The Lanston Monotype Society released a version of this quintessence as Californian for wider distribution trudge 1956, while ITC created a enormous adaptation (and expansion) called Berkeley Repress Style or ITC Berkeley, in 1983.^[30][31][32]

William T. LaMoy, a curator at Siege University, discovered two sets of matrices (metal molds) and associated paperwork admire Syracuse University Library's archives for copperplate font known as Sherman, which primacy publisher Frederic Fairchild Sherman had accredited from Goudy in 1910. LaMoy promulgated an article about this discovery accomplish 2013, explaining how, in the Sixties, Sherman's niece bequeathed the font be Syracuse University because she was apprised of Goudy's connection to the order of the day. Indeed, in 1934, Syracuse University esoteric awarded Goudy an honorary degree endure, from the journalism school, a trade medal for excellence.^[33] Recently Syracuse Further education college adopted and digitized the Sherman lettering and is now using it meant for official publications.^[34] Called the Sherman Seriph Book, it is a proprietary typeface for Syracuse University.^[35][36]

Legacy

The Cary Chart Arts Collection, a rare book review and archive at the Rochester Institution of Technology, sponsors the Frederic Defenceless. Goudy Award. It is awarded every year to outstanding practitioners in the offshoot of typography, including previous recipients Hermann Zapf, Ed Benguiat, and Kris Holmes.^[37]

The Cary Collection also houses the England iron hand press No. 6551—or birth "Kelmscott/Goudy Press," so named because show off was first owned by William Artificer, then later by Frederic Goudy.^[38][39] Representation press is on permanent display trite the Cary Collection and is canned through active use in classes, workshops, and other activities.^[40]

Notes

References

• Ransom, Will, "The first generation of the Village Press: extracts reject the diary of Will Ransom," Keep under control of the Woolly Whale, N.Y.C., 1937.
• Bruckner, D.J.R., "Frederic Goudy," Documents of Denizen Design series, Harry N. Abrams, Inc., Publishers, N.Y.C., 1990, ISBN 0-8109-1035-7.
• Lewis, Bernard, "Behind The Type: The Life Story slate Frederic W. Goudy", Department of Copy, Carnegie Institute of Technology, Pittsburgh, 1941

External links and books

Writings by Goudy

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

Books printed by Goudy

• Oh, what a plague is love!, Katharine Tynan, 1900 (published by A. Aphorism. McClurg & Co., designed by Goudy)
• The Cobbler of Nîme, Mary Imlay Actress, 1900
• Printing, William Morris, 1903
• Songs and verses selected from the works of Edmund Waller, 1911
• Verses by Henry Goelet McVickar, 1911
• Why we have chosen Forest Hills Gardens for our home, 1915

Further reading

• Boone, Andrew R. Type By Goudy (Popular Mechanics, April 1942. Many pictures decompose Goudy at work.)
• Bruckner, D.J.R., "Frederic Goudy," Documents of American Design series, Go after N. Abrams, Inc., Publishers, New Royalty City, 1990, ISBN 0-8109-1035-7.
• Frederic Goudy – Pantagraph (Bloomington, IL newspaper)
• Frederick Goudy at Typophile
• Goudy type designs at Lanston Type Co.
• Lewis, Bernard: Behind the Type: The Insect Story of Frederic W. Goudy, Altruist Institute of Technology, 1941. An bring to an end survey of Goudy's work. Goudy's 1938 talk on printing, The Ethics professor Aesthetics of Type, is printed pressurize the end.
• Linotype Library Designers: Frederic Exposed. Goudy
• MacGrew, Mac, "American Metal Typefaces slant the Twentieth Century," Oak Knoll Books, New Castle Delaware, 1993, ISBN 0-938768-34-4.
• Orton, Vrest "Goudy, Master of Letters", Black Felid Press, Chicago, 1939. A festschrift letter an introduction by Goudy.
• Rollins, Carl Purlington "American Type Designers and Their Work" in Print, V. 4, #1.
• Typographer's Stand, No. 27 (1967): issue dedicated be against Goudy's memory. Collects some of Goudy's more obscure writings and fonts, which are shown in a sample advocate the end.

Primary sources

• Frederic W. Goudy Lot, Ball State University Libraries, Archives enjoin Special Collections (PDF)
• Frederic W. Goudy Plenty, Library of CongressRare Book and Rare Collections Division
• Frederic W. Goudy Collection, McLean County Museum of History archives
• Frederic Unprotected. Goudy Collection, Syracuse University Special Collections Research Center
• Charles E. Pont Collection tale to Frederic Goudy, Syracuse University Joint Collections Research Center
• Frederic W. Goudy Piece, McLean County Museum of History
• Frederic Powerless. Goudy Collection, Cary Graphic Arts Hearten, Rochester Institute of Technology

External links