![]() He listed his typefaces with numbers in a similar way to the opus numbers used by composers.Ĭareer The first page of Goudy's book Elements of Lettering (1922), exemplifying his interest in the history of printing. He worked extensively with his wife Bertha, who particularly collaborated with him on printing projects. Indeed, in his autobiography Goudy sometimes said he had little memory of some of his earlier designs. Not all Goudy's designs survive or have been digitised: several, often designs never cut into metal, were lost in fires which burned down his studio in 1908 and again in 1939. He completed A Half-Century of Type Design and Typography, a two-volume survey of all his designs, late in life, in which he discussed all of his work. Goudy in 1924Īgain unusually for type designers of the period, Goudy wrote extensively on his work and ambitions, partly in order to publicise his work as an independent artisan. Goudy's taste matched a trend of the period, in which a preference for using mechanical, geometric Didone fonts introduced in the eighteenth and nineteenth century was being displaced by a revival of interest in the 'old-style' serif fonts (preferred by Goudy) developed before this, a change that has proved to be lasting, especially in book body text. This means that several of his most famous designs such as Copperplate Gothic and Goudy Stout are unusual deviations from his normal style. He also developed a number of typefaces influenced by blackletter medieval manuscripts, illuminated manuscript capitals and Roman square capitals carved into stone. Eric Sloane, who was his neighbour as a boy, recalled that he also took inspiration from hand-painted signs. He worked under the influence of the Arts and Crafts movement, and many of his designs are old-style serif designs inspired by the relatively organic structure of typefaces created between the fifteenth and eighteenth centuries, following the lead of earlier revivalist printers such as William Morris. ![]() Goudy was one of America's most prolific designers of metal type. * The four asterisks indicate places where the author replaced the words “she” and “her” because typefaces are neither male nor female.Īndré Mora is a typographer and has designed a bunch of magazines, taught publishing design, and worked for Font Bureau and Process.The following is a list of typefaces designed by Frederic Goudy. By now it should be clear that Harriet is anything but prudish. Could three weights have been enough? Careful typographers won’t find this to be a problem - it will allow for plenty of play in settings ranging from ten to 16 points. Four text weights will inevitably lead to settings too light or too heavy. Its* manners are always good, but good manners mean one thing in a teahouse and another in a taphouse.Ī minor complaint may be Harriet’s embarrassment of riches. It’ll* sit on its hands or bounce down the block. Simply, Harriet’s* a joy to use (and to read once set), with styles ranging from delicate to downright fat. Its* nose may point, but not towards the sky. So let’s not imply the influence of anything too regal - Harriet skirts nobility. But no matter - all of these B-fonts feel drawn to the ground, like balloons losing air. In truth, Harriet may be more reminiscent of Bell or Bulmer, which were early deviations of Baskerville’s forms. The influence of mid-century moderns like Century is present, but, on the whole, Harriet maintains a historical elegance too often lost in contemporary typefaces. Nor does it mean Harriet is entirely a transitional design. Its own description calls it a rational serif, and you could acknowledge its vertical axis and then think nothing more of the term. But I believe that Harriet’s true rationality lies in how it solves this problem: there are too few worthy successors to Baskerville fit for today. Jackson Cavanaugh released it on Valentine’s Day and it comes with a heart that has more soul than either of the two found in Zapf Dingbats. This impressive family (appropriately titled “Series”) is made up of four text weights and six display weights. The desire to italicize entire pages will soon seem less romantic. ![]() For instance, you could print the lowercase ‘p’ from Harriet Display Light Italic and hang it on the wall, stare at it each morning, and develop a singular lust. Warning: Upon licensing the Harriet Series, a sudden urge to set everything in italics may overwhelm.
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