page_title: List of typefaces designed by Frederic Goudy
section_title: Kennerley series
hierarchical_section_title: List of typefaces designed by Frederic Goudy / 1911 to 1926 / Kennerley series
caption_attribution_description: English: Sample of Goudy Forum Typeface as used on an advertisement. The advert was considered good enough to be used in a book on typography some years later.
context_page_description: The following is a list of typefaces designed by Frederic Goudy.
  Goudy was one of America's most prolific designers of metal type. 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. Eric Sloane, who was his neighbour as a boy, recalled that he also took inspiration from hand-painted signs. He also developed a number of typefaces influenced by blackletter medieval manuscripts, illuminated manuscript capitals and Roman square capitals carved into stone. This means that several of his most famous designs such as Copperplate Gothic and Goudy Stout are unusual deviations from his normal style.
  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 developed before this, a change that has proved to be lasting, especially in book body text.
context_section_description: The Kennerley Series, named for New York publisher Mitchell Kennerley, was Goudy's first major success in his own style.
  Goudy described the design as extremely loosely suggested by the 'Fell Types', a set of type in the Dutch style collected by Bishop John Fell of Oxford for the Oxford University Press: "comparison of my type with the Fell letter will disclose little more than an identity of spirit." Others have compared it in some details, notably the tilted understroke on the 'e' of which Goudy was fond, to the type of late 15th century Venetian printer Nicolas Jenson. Many revivals and digitisations have been released since.
  Kennerley Old Style (1911, Village Letter Foundry + 1920, Lanston Monotype + 1927 Continental)
  Kennerley Italic (1918, Village Letter Foundry + 1920, Lanston Monotype + 1927 Continental)
  Kennerley Bold + Bold Italic (1924, Lanston Monotype + Continental)
  Forum Title (1911, Lanston Monotype), capitals only, based on the lettering on the Arch of Titus in the Roman Forum. Distinguishable from some of Goudy's other Roman-inspired fonts by the Greek-inspired curving capital 'Y' in the tradition of the Greek letter upsilon. Quite soft in appearance, which Tracy found "too much of a good thing".
  Sherman (1910), privately cast for publisher Frederick Sherman who never used it. After the death of Sherman and new ownership by his niece, Elizabeth Sherman Engelhardt, original proofs and remaining metal type were donated to Syracuse University for use exclusively by its faculty and students. The Sherman typeface was brought back to life and digitally redrawn by Chester Jenkins in 2016.
  Goudy Lanston (1912, Village Letter Foundry) Initially named 'Goudy Old Style', but in 1915, when ATF requested this name for his new face for them, Goudy agreed and renamed it.  26 Lead Soldiers noted that "Goudy's own Village Foundry was long the sole source of this face, 14-point roman only". When Lanston Monotype bought and issued the face, it was again renamed, in honour of Tolbert Lanston; it was originally called Goudy Antique.  Issued in England, with some alterations, by Caslon under the name Ratdolt.  Evidently, this altered English version, was issued under the names Foster and Moore by Barnhart Brothers & Spindler along with a "matching" italic (see below).
  Goudy Roman (1914), originally designed for Louis Orr of the Bartlett Press who was supposed to have them cast by Caslon Foundry, but Caslon refused to take on new work due to a "war scare".  Later, Barnhart Brothers & Spindler expressed interest in the project cut trial matrices, which Goudy did not like, so he eventually cut the matrices himself.  It is unclear if the type was ever cast in quantity.
  Klaxon (1914, cut for Klaxon Auto Warning Signal Company), the matrices, which were cut by Wiebking, were lost in Goudy's 1939 studio fire.
  Goudy Italic, a companion to Goudy Roman which never progressed past initial drawings which were then destroyed in Goudy's 1939 studio fire.
caption: Goudy Forum on an advertisement
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