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35-596: Goudy is a surname. Notable people with the surname include: Frederic Goudy (1865–1947), American type designer Goudy Old Style , a typeface created by Frederic Goudy Goudy Sans , a typeface created by Frederic Goudy Todd Goudy , Canadian provincial politician William C. Goudy (1824–1893), American politician Yann Goudy (born 1975), French racing driver See also [ edit ] All pages with titles containing Goudy Goudey , an American defunct chewing gum and baseball card company Goudie ,

70-486: A calligraphic italic. Quite unlike most sans-serif types of the period, it was unpopular in his lifetime but revived several times since. As an independent artist and consultant, Goudy needed to undertake a large range of commissions to survive, and sought patronage from companies who would commission a typeface for their own printing and advertising. This led to him producing a large range of designs on commission, and promoting his career through talks and teaching. As

105-665: A compositor of type. The couple had a son, Frederic T. Goudy. It has been claimed that Goudy was the originator of the well-known statement, "Anyone who would letterspace lowercase would steal sheep." Goudy was the third most prolific designer of metal type in the United States (behind Morris Fuller Benton and R. Hunter Middleton ), with ninety faces actually cut and cast, and many more designs completed. His most famous were Copperplate Gothic and Goudy Old Style . Besides printing, he also worked on numerous hand-lettering projects (especially early in his career) and created

140-457: A few others later. As a result, many of his designs may look quite similar to modern readers. He also developed a number of typefaces influenced by blackletter medieval manuscripts, illuminated manuscript capitals and Roman capitals engraved in stone. Some of his most famous designs such as Copperplate Gothic and Goudy Stout are unusual deviations from his normal style. His sans-serif series, Goudy Sans , adopts an eccentric humanist style with

175-401: A greater and more general esteem for good printing and typography, to give printers and reader of print more legible and more beautiful types than were hitherto available." By the end of his life, Goudy had designed 122 typefaces and published 59 literary works. He worked extensively with his wife Bertha M. Goudy , who particularly collaborated with him on printing projects in which she acted as

210-449: A large set of ampersands for an article on the topic. Goudy's career was influenced by the Arts and Crafts movement and the growth of fine book printing in the United States. At a time when printing types had become quite mechanical and geometric under the influence of Didone designs such as Bodoni , Goudy spent his career developing old-style serifs often influenced by the printing of

245-708: A reporter, bookkeeper, and printer's devil for several papers in the Northwest. Long interested in design, and having printed several art books on his own, Ransom was persuaded in 1903 to study at Frank Holmes’ School of Illustration . There he joined a group of young designers including Oswald Cooper , W.A. Dwiggins , and Frederic Goudy . Later that year, Ransom and Goudy founded the Village Press in Park Ridge, Illinois . After an unprofitable year of operation, Ransom ceded sole proprietorship to Goudy, and for

280-440: A result, many of his designs may look quite similar to modern readers. His career was aided by the new pantograph engraving technology, which made it easier to rapidly cut the matrices used as moulds to form metal type. This was a considerable advance on the traditional method of cutting punches manually at the size of the letter to be printed, which would be stamped into metal to form the matrix. An additional boon to his career

315-600: A royalty agreement. ATF's refusal to give Goudy compensation for the success of the Goudy family led to the deterioration of Goudy's relationship with ATF. The only other typefaces Goudy designed for ATF was Goudytype, and series of initial letters, named Cloister Initials. From 1920 to 1947, Goudy was art director for Lanston Monotype . Although he continued to design for Monotype throughout this period, Goudy withdrew to his workshop in Marlborough, New York , which he dubbed

350-479: A surname [REDACTED] Surname list This page lists people with the surname Goudy . If an internal link intending to refer to a specific person led you to this page, you may wish to change that link by adding the person's given name (s) to the link. Retrieved from " https://en.wikipedia.org/w/index.php?title=Goudy&oldid=1237108529 " Category : Surnames Hidden categories: Articles with short description Short description

385-480: A thorough commentary on each of his designs late in life. The printer Daniel Berkeley Updike , while respecting some of his work (at least publicly), echoed Goudy's student Dwiggins ' comment that his work lacked 'a certain snap and acidity', and apparently somewhat snobbishly disliked Goudy's aggressive seeking after work and reputation. He also wrote that Goudy had "never gotten over" a desire to imitate medieval books. The British printer Stanley Morison , also

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420-492: A trend towards sharper geometric design making his work out of favor. Walter Tracy described Goudy as "over-fond" of the 'e' with a tilted centre common in fifteenth-century printing which he felt added an "unwanted restlessness" to many of his type designs. In 1938 he designed University of California Old Style , for the sole proprietary use of the University of California Press . The Lanston Monotype Company released

455-630: A version of this typeface as Californian for wider distribution in 1956, while ITC created a well-known adaptation (and expansion) called Berkeley Old Style or ITC Berkeley, in 1983. William T. LaMoy, a curator at Syracuse University , discovered two sets of matrices (metal molds) and associated paperwork in Syracuse University Library's archives for a font known as Sherman, which the publisher Frederic Fairchild Sherman had commissioned from Goudy in 1910. LaMoy published an article about this discovery in 2013, explaining how, in

490-551: A veteran of fine book printing whose career at Monotype had moved in the direction of blending tradition with practicality, admired much of Goudy's work and ethos but also wrote sarcastically in private letters to Updike that Goudy had "designed a whole century of very peculiar looking types", and that he was glad that his company's Times New Roman did not look "as if it has been designed by somebody in particular – Mr. Goudy for instance." Goudy felt in his later life that his career had been overshadowed by new trends, with modernism and

525-423: Is different from Wikidata All set index articles Frederic Goudy Frederic William Goudy ( / ˈ ɡ aʊ d i / GOW -dee ; March 8, 1865 – May 11, 1947) was an American printer, artist and type designer whose typefaces include Copperplate Gothic , Goudy Old Style and Kennerley . He was one of the most prolific of American type designers and his self-named type continues to be one of

560-621: The w . However, I find that occasionally a stranger pronounces the word with ou as long o in go , sometimes as ou in soup , or goo and less frequently with the ou as oo in good . I retain the original pronunciation with ou as in out ." After teaching lettering and becoming known as an advertising designer in Chicago, Goudy built his reputation as a type designer. In 1895 he founded his printing shop, Booklet Press (later renamed Camelot Press). Goudy designed his first typeface, Camelot, in 1896. In 1903, Goudy and Will Ransom founded

595-461: The 1960s, Sherman's niece bequeathed the font to Syracuse University because she was aware of Goudy's connection to the university. Indeed, in 1934, Syracuse University had awarded Goudy an honorary degree and, from the journalism school, a typographic medal for excellence. Recently Syracuse University adopted and digitized the Sherman typeface and is now using it for official publications. Called

630-636: The Albion iron hand press No. 6551—or the "Kelmscott/Goudy Press," so named because it was first owned by William Morris , then later by Frederic Goudy. The press is on permanent display at the Cary Collection and is preserved through active use in classes, workshops, and other activities. Will Ransom Born in St. Louis, Michigan , Ransom grew up in Snohomish, Washington and began his career as

665-645: The Faithorn Company. In 1927, Ransom began writing a series on private presses for Publishers Weekly , a task for which he was well suited, and which led to publication of his noted book Private Presses and their Books ( R.R. Bowker , N.Y.C., 1929). In 1930 he left Chicago for Rochester, New York , where he was employed by the Printing House of Leo Hart as a book designer for five years. In 1935 he moved to Buffalo where again he worked freelance. By this time, Ransom had an impressive reputation as

700-479: The Italian Renaissance and calligraphy, with a characteristic warmth and irregularity. His neighbour, Eric Sloane , recalled that he also took inspiration from hand-painted signs. In contrast to his great contemporary Morris Fuller Benton , he generally avoided sans-serif designs, though he did create the nearly sans-serif Copperplate Gothic , inspired by engraved letters, early in his career and

735-618: The Lanston Monotype Machine Company: E-38, sometimes known as Goudy Light. However, in that same year the Village Press burned to the ground, destroying all of his equipment and designs. In 1911, Goudy produced his first "hit", Kennerley Old Style , for an H. G. Wells anthology published by Mitchell Kennerley . This success was followed by Goudy's release of the titling letter Forum . Both Kennerley and Forum were cut for private use. Although Goudy

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770-619: The Sherman Serif Book, it is a proprietary font for Syracuse University. The Cary Graphic Arts Collection , a rare book library and archive at the Rochester Institute of Technology , sponsors the Frederic W. Goudy Award . It is awarded annually to outstanding practitioners in the field of typography, including previous recipients Hermann Zapf , Ed Benguiat , and Kris Holmes . The Cary Collection also houses

805-553: The Village Letter Foundery. Goudy withdrew partly because he believed that the methods the Monotype firm used to transfer his designs to matrices compromised his work. "All of Goudy's types were drawn freehand, without the use of compass, straightedge or French curve."(cite) It was at the Village Letter Foundery (his workshop) that Goudy created the majority of his prolific work. In 1939, the Village Letter Foundery

840-504: The Village Press in Park Ridge, Illinois. The typeface used for the Village Press, dubbed "Village" was originally created in 1903 for the Chicago clothing manufacturer, Kuppenheimer & Company . This venture was modeled on the Arts and Crafts movement ideals of William Morris , whose Golden Type many of Goudy's earliest designs echo. It was moved to Boston, and then New York. In 1908, he created his first significant typeface for

875-400: The eighteenth and nineteenth centuries and Goudy Old Style being sold with a swash italic for display use. Goudy kept records of his work (though most of these do not survive due to the fire), giving his typefaces numbers for his own use in a similar way to the opus numbers used by composers. Almost uniquely for type designers of the metal type era, he wrote extensively on his work, including

910-585: The most popular in America. Frederic William Goudy was born on March 8, 1865, in Bloomington, Illinois . Goudy was not always a type designer. "At 40, this short, plump, pinkish, and puckish gentleman kept books for a Chicago realtor, and considered himself a failure. During the next 36 years, starting almost from scratch at an age when most men are permanently set in their chosen vocations, he cut 113 fonts of type, thereby creating more usable faces than did

945-642: The next nine years, took work as a bookkeeper. In 1911 he married Helen Ruhman, a piano teacher. They had one child, a daughter, Frances Rose. Encouraged by his wife, Ransom again tried his hand at design, setting up shop as a freelance artist, designing advertisements for both Carson Pirie Scott and Marshall Field's department stores and the Rock Island Rail Road , as well as books for several publishers. At this point he designed his famous typeface, Parsons, which he named for I.R. Parsons, an advertising manager for Carson's department store. The face

980-427: The seven greatest inventors of type and books, from Gutenberg to Garamond ." Asked how to say his name, he told The Literary Digest "When I was a boy my father spelled our name 'Gowdy' which didn't offer any particular reason for verbal gymnastics. Later learning that the old Scots spelling was 'Goudy,' he changed to that form, while I, for some years, retained the old way. My brother in Chicago still spells with

1015-435: The world's foremost practitioners of that field. In 1921 Ransom began publishing under the imprint of Will Ransom, Maker of Books . These volumes of fine printing were designed and decorated by Ransom, printed on paper made by Dard Hunter , and generally well regarded. The publishing venture proved unprofitable, however, and was abandoned in 1925. After again freelancing for a period, Ransom became director of typography at

1050-589: Was an immediate success, not only popular with printers, and used in all of Carson's advertisements for many years, but was among the most frequently used faces in motion picture titles and captions. He was credited by C.J. Bulliet, Editor of the art magazine for the Chicago Evening Post and later art critic of the Chicago Daily News , of having introduced (in 1923) Helen West Heller to woodcutting, after which she went on to become one of

1085-577: Was destroyed by fire and much of his work was lost. Two of his most successful designs created for Monotype, Deepdene and Goudy Text , were not destroyed. Beginning in 1927, Goudy was a vice-president of the Continental Type Founders Association , which distributed many of his faces. Goudy was widely known from 1915 to 1940 mainly because of the success of his typefaces, but also because he gave many lectures and speeches on "the great love he had for letter forms". Goudy

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1120-569: Was known to rarely turn down a speaking engagement. In 1940 he was appointed lecturer at Syracuse University 's S. I. Newhouse School of Public Communications . An excerpt from a lecture he gave to the annual convention of the International Club of Printing House Craftsmen in New York in 1939 highlights Goudy's practicality and love for letterform . "My craft is a simple one. For nearly forty years I have endeavored constantly to create

1155-523: Was one of the first type designers to become established without working for a foundry, the American Type Founders Company (ATF) became interested in Goudy after his release of Kennerley and Forum. ATF commissioned Goudy to create a typeface. Goudy agreed "on the condition that his original drawings would not be subjected to interference by the founder's drawing room". This commission would become Goudy Old Style . Goudy Old Style

1190-479: Was released in 1915 and became an instant success. (cite) It was well suited for newspaper's advertising sections because of its efficient use of space. ATF continued to expand the Goudy 'family' to Goudy Title in 1917, Goudy Bold in 1920, Goudy Catalogue in 1921, Goudy Handtooled in 1922 and Goudy Extrabold in 1927. Goudy types were clearly very lucrative for ATF, but Goudy did not receive anything because he had sold his original design for $ 1,500 instead of entering into

1225-405: Was the new hot metal typesetting technology of the period which created increasing availability and demand for new fonts. While most of his designs are 'old-style' serif faces, they do still explore a wide range of aspects of the genre, with Deepdene offering a strikingly upright italic, Goudy Modern merging traditional old-style letters with the insistent, horizontal serifs of Didone faces of

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