-132- Brothers foundry not long before was, I suppose, derived from a

Some designers and style of hand-drawn lettering which had been popular on posters

their types and magazine covers for many years, and was usually in excellent

harmony with the strong lines and masses of the illustration: for

example, see the graphic work of William Nicholson in England

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Goudy Heavy Face.

in the late 1890s. Oswald Cooper's type had the convex terminals
of his earlier Roman; in the Ludlow version of it they are concave,
like those of the Keystone foundry's Ben Franklin type. These
heavy faces became popular in publicity work, and Lanston
Monotype, needing to compete with them, asked Goudy for a
similar design. The letter forms of Cooper Black and Ludlow
Black are obese and, to my mind, vulgar; and Linotype's Pabst
Extra Bold is only a little better. Goudy's Heavy Face is superior
to them; not so dark, but dark enough, and with cleaner profiles -
the work of a designer familiar with, and respectful of, the letter
forms of traditional printing types. The term 'fat face' is usually
applied to types of the 'modern' class, such as the extra-bold
versions of Bodoni. The Goudy Heavy Face might be called a 'fat
old style'.

'Black-letter' types - those which show, more or less, the charac¬
teristics of early scriptorial work - were often in Goudy's mind
from 1926 onward (though he had designed a set of Caxton
initials as long ago as 1905), and he set a high value on them,
possibly because he thought they demonstrated so well his ability
with a pen and his skill as an engraver of matrices. But in most of
his designs in this class the letter shapes are awkward and un-
harmonious; by comparison with Rudolf Koch's types in the

-133-

Some types

by Frederic Goudy

To give unity to a piece of

Printed Matter the construe/

don and arrangement must be "kept

going" as a whole, all the time, so & ífn 234567890

that the attention does not dwell too long on any one part ; this
is the very beginning of design, since it amounts to grasping the
whole situation. To make anything serviceable the producer j?l

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Medieval.

genre they are embarrassingly inferior. And yet he had success
with them.

Describing his Medieval of 1930 he wrote: 'I come now to what
I personally consider one of my most original designs, a letter
based on a twelfth-century South German manuscript hand . . .'
and later, rather confusingly, '. . . its lowercase borrows the
freedom of the scribe's pen of the Renaissance'. He goes on to say
that he had preserved the gothic spirit of the face while romanis-
ing somewhat the individual characters. He gives the names of
eminent people who had used the type; and he remarks that he
began the design on 19 August, cut the patterns and engraved the
matrices, and was casting type on 27 September - a brisk turn of
speed for a man of sixty-five.

There is one design in this class which is wholly admirable: the
Goudy Text of 192.8, which was acquired by Lanston Monotype.
Goudy described it as 'a freely rendered Gothic letter, composite
in form from various sources'. The letters are very well matched ^oudy Text.

. . . . r . . - . From Portfolio Two,

to each other and produce a hne result when composed in text. Rampant ums Press.

Fourscore and seuen gears ago our fathers broujght
this continent a neto nation, conceded in libertg, and
to the proposition that all men are created equal. Bo
engaged in a great cítiíl toar, testing tohether that nati