EXAMPLE 527-A
The eighteenth-century ornamental types of Fournier, the French founder
EXAMPLE 527-B
Early nineteenth-century ornamental types of English founders
A dozen pages, were they available, could well be given over to exhibits of the privately designed types of the Riverside Press, Merrymount Press, University Press, Village Press and other notable printing offices.
The Influence of Goudy
A liberal showing would be worth while of the various fonts designed by Frederic W. Goudy, who has done much in influencing type design during recent years, but it will be necessary to be content with the exhibit of Kennerley, in Example [463], and other faces by Mr. Goudy in use in preceding chapters. Kennerley, the best known and most characteristic of the Goudy letters (1911), is shown in Examples [187], [313], [329], [364], [395], [432], [445] and [446]. Forum, made in capitals only, is to be found in Examples [20], [229], [334], [360], [366] and [395]. Goudy Oldstyle is used in Examples [324] and [391]. Camelot, which was Mr. Goudy’s first effort at type designing (1896), appears in Examples [44] and [124]. Pabst, another early effort of Mr. Goudy, but not so good in design as his later types, will be found in Examples [30], [100] and [214], and also used in this book for headlines, captions, title-page and cover labels.
EXAMPLE 527-C
Type-faces of the ornamental kind
Frederic W. Goudy is wielding a large influence over art work and typography in America. His style of lettering, decoration and type designing is now to be found on much of the good printing produced in our country. His type-faces are original; in their completed form they are not just like any one type-face previously used, but they revive details in letter forms that for many years had been considered obsolete by typefounders. Mr. Goudy is a humanist; he believes that type-faces should be more expressive of the art of the letterer than the skill of the typefounder. He is speaking:
Type must be finely and boldly designed to be beautiful. In the majority of cases where these points are claimed for a type, it will be found that the claims rest on their perfect finish, exact lining or ranging, perfection of curve, precise angles, straightness of stem, or sharpness of serif and hair line. None of these points give beauty or legibility, altho they may be present in a type both beautiful and legible. Finish in the design of a letter is a merit only when it improves, but if made at the expense of design it constitutes a defect.