novpreview1986

Connecticut Opera presents Verdi's Otello Staning James McCracken

February 26 and March 1, 1986 Bushnell Memorial Hall, 8:15 pm

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Ll• NCoii'TO.CT AUGUST3~1985

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Design Annua/1986

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.'THESE FOLLOWING LINES RELATE GOUDY'S ACCOUNT OF HOW ONE OP HIS EARLY GREAT SUCCESSES CAME INTO BEING. THE COMMISSIONING. OF GOUDY OLD.STYLE

BY THE AMERICAN TYPEFOUNDERS MADE HIS DESIGNS AVAlLABLE TO A NATIONAL MARKET WITH THI! RELEASE OF THIS FACE GOUDY WAS ASSURED OF FAME. GOUDY OLD STYLE [~No . Z5J'

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where Goudy goes down to posterity, while American Type Founders Company goes down to prosperity:' l fear he was·too optimistic on both counts.

From the parent design the AmeriJ can Type Founders Company developed Goudy Bold, Extra Bold and ltalics, to forin a combination called the "Goudy Family" but with which I had absolutely no pan; nor did I ever receive any compensation fo~ the use of my name.

Also, by enlarging the small capitals to a height almost that of the type body - thereby increasing the weight of the letters - a ne)W character was developed which -was named ~'Goudy Tide:' To permit a larger face without kern, the "Q" was redesigned at the foundry to .a type form which irritates ll)emightily. the dean of ·

S 1 HAVE PREVIOUSLY said, Clarence Marder hadsuggested to Mr. Nelson, . president:of the American .

Type Founders Companyr that he ought to commission a type from.mefor the Company. On the occasion of_ one of my frequent visits to the Company, the'n · · FREDERIC WILLIAM GOUDY, · located in Jersey City, Marder said ' American type de.sign, did not .become ·· · 'GOUDY OLD STYLE ITALIC NelSon would like to see me. I had never seriously involved in drawing type until (Des;cn No. 26] met him in person, but on going into f h .c th d h his office 1found him very pleasant and a ter.. 'is rortie · year. later, uring is F COURSE AN ITAUC affable. He said that Clarence had been sixtjes, he took up type cutting and ·mas, was needed for the roman, teUing him of our London experiences ~red the exacting process of pattern and and I did not lmow ju~t and particularly ef our visit ,with.the matrix m~king. Then he had · complete what kind ro·draw. Up to Caslons. He went on to say that 1"was control o( the ultimate look of his types. this time l had attempted only two . beginning to found a type school more One curious criticism has been that he other italic type.t so a good mahy pre.liminary sketches were made (for my 0 r less my own, and would l consider · . produced no more than· six "good" book Own satisfaction)' before se1'iOusly be- • making a design for him?"l sau:ll would · faces. Strahge, when one considers that .it . be glad to, if I could. do just what f is thought an achievement to design one ·ginning q_ne for Goudy Old Style. I studied roany of the .older italics and .thought best as to design without intergood type. Such a typeface· is Goudy .Old ference by the foundry's drawin~ room.

Style. Though not in the strict sense a · ' came to the conclusion that except for equivalent weight and general harmony · He replied,rhat that was "e~.actly wh~t bOok face, it has been u5ed in many fine with the roman, dlere was no rule to · he wanted. · · . volumes. That the _type iS assOciated With be fQllowed for the ftalk, even 'in the I'beganmydra~ings; lhada.tsome· advertising is probably due mo~e to .the matter of inclination- notwithstandtime or other copied few letters of foundry for which it was drawn.than to the ing DOughis McMurtrie's dictum that classic form from a portrait paintingh f I have always said "by Hans Holbein:· . . wis es .o . its creator.·It -now enjoys more. the degree of inclination should be . but later search has never brought . use than eve( since its -release, more than seventeen per cent. these particular pattern letters to.Ught. seventy years ago. We dedic;a~e this first I found mar some of the outstand-< Anyway, rdecided that I would attempt btoadsheet in our series to its illustrious , ing italics of tb'e sixteenth c~ntury had to co~plete an alphabet of capital~ ·- designer, and to all who have a special little or no inclination and \ret retllinalong the lines o( the letters l.had · feeling for t'ype. ·, ed th.eir italic character. Eleven years copied. Then came tne difficult task .' after 1 had .drawn Goudy Old Style of designing a lowe~-case in perfect ', Italic, Stan!~ Morison Sllid: "The qual. lty of'slope i~ no true test of an italic:' harmony with classic .capitals which harked back to a period some hun~ 1Jound, too, that at the time of · dreds of years earlier.

(604) 688-9975 • Englan.d's.early prl,nter, John Daye, cirMy troubles began. The first proofs 1147 Homer Street,Vancouver, British Columbia V6B 2Yl. · ca 1578, one italic might be used sa tis- ··· factor1ly with several romans, so long . of my ·design fro.m the -foundry showed differences from my drnwings. I iin- · , .

•as lining, ~eight of forms, and harmony as tO weight with the:roman with which it was used were consi~ered. mediately took the matter up with Nelson arid.reminded him efhis promise that ItlY design w~mld be followed exactly. He e:xpressed . Taking the A,ldine italic a starting point fot my new font I besurprise that it had not been so followed, but I soon convinced fum ~an my work,' and succeeded in producing an original letter which,. that I was right, and he immediately mtve .ordeis that no changes . I believe, constituted ' the first distinctive italic. in modern times. it h<ts been praised by Henty 1;\ullen~d Stanley Monsan, and has should be made unless, after submission to me, I appro~ed them; ' and also that the already changed characters should.be replaced by. . been used for .so~ imponaru, ite.rrul by Bwce Rogers. others following my drawings exactly. the face, as finally produced; · . t had found thar the ·principal feature of a good italic wa.s a was, 1felt, almost as great an innOV<f.tion in tyPe iiS my (.<enneriey. certain-inform,aljty, as well as a ~~liar. elegallj:e and.Jreedoi'(l in It immediately " too~" and large quantities have been sold; and it is- · construcrion. Jienry SuUefl s!rid "ihis distinctive and channiag·ita.lic still selling · · , face· ~ill give the' printed page the touch {)f individuality whi,ch the lam almost satisfied that the design is a good one, marred only wide-awake I?rinteH~~teems ~· . by the short descenders which I allowed the American Type Foun. GOUDYOLDsTvi.E ders Company t6 inveigle me into giving p, q, g, j, iJnd y - .though , . AOCDEFGHl}KLW,-JOPQRSTUVWXYZ only under protest. · abcdefghijklmnopqr~uvwxyz$0123456789~.~~}8.!1~~'}8 On a visit to the American Type Founders some years ago by .;,;1"- -1 &•I@ 0©*0~+- Jl%o a~YelnoACBINOiL <>B£ ' members of the American Institute of Graphic Arts, they were . , GOUDY OLD STYLE ITALIC accompanied through the different departments by the Librarian, the late Henry Bullen, who, stopping at one of the big automatic ABCDEFOHUKJ,.Ml'jOPQRSTUVWXYZ · casters, which was pouring out an endless stream of glistening typeS, abc.defghijklmnopqrstuvwxyz$0123456?890llH5_6189 remarked that the types being cast were the latest from a. design by .:,;"-- I?&0111 ®()t~[)§11.'~1fioAC£I?VOizi>.B£ one of the Institute's own members. He went on to say: "Here is .

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