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FRANK LEE MARTIN
MEMORIAL LIBRARY
UNIVERSITY OF MISSOURI

 

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? A NOTE

ON LETTER/DESIGN
‘ 89’ THE VILLAGE TYPES

 

DECEMBER, 1915

A SPECIMEN AND PRICE LIST
OF KENNERLEY, KENNERLEY ITALIC
89° FORUM TITLE

QUOD SI
DEFICIANT
VIRES, AUDA’
CIA CERTE
LAUS ERIT. /

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£723».

A D UH‘ h. Lil?-

 

A NOTE ON LETTER’DESIGN
AND THE VILLAGE TYPES I

 

- 3 2-- 3 THIS Type specimen may fall into
' .1 / I " the hands of some printers who are
. 3- not familiar with the Village types
-' I .‘ r ; designed by FREDERIC W. GOUDY, a
few words regarding his aims and his
types seem advisable.
, In Typographica No. I, Mr. Goudy
3 - ~ -~ ' 953 .. wrote that “to attempt a revision of
our letter forms as expressed in types is to set one’s self a dif’
, ficult task, requiring patient waiting for tangible results and
g recognition, or even appreciation.” He now admits, however,
It...
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that except as to the difficulties of his task, he was in error,
as the appreciation of his efforts was almost immediate.

x :3 Mr. Goudy believes that there is a real and increasing need
K for types for decorative printing, a need not altogether satis’
\I , . . .

i fied by the type founders w1th whom commerc1al cons1derae
A tions naturally supplant artistic inclinations. -

“Q In the days when printers designed 89’ founded their own
K: types in the attempt to produce books as beautiful as those
\9
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manuscript books With which they were familiar,

into the then new art the same artistic considerations Which
controlled the older, types were spontaneous in design, the
results of craftsmen intent on the purposes for which the
types were to be used and not on mere technical execution.
Their types were beautiful, legible and harmonious, showing
plainly those natural irregularities and deficiencies in execu’
tion, the products- of minds concentrated only on expression.

That letter design no longer lives-as an artistic craft is still
true, but Mr. Goudy s efforts to restore the craft to its orig!
inal purity of intention and make it once more alive are be’

to Show results. Probably no other letter designer
has had a greater influence on the work of younger designers
than he. V

Mr. Goudy s types are plain, straightforward, legible forms
in which the usual wearisome commonplace regularities are
absent and those qualities of design which give beauty, life
and charadter are given greater consideration.

His attempt was mostly to reviSe his letter forms with a
keen regard for beauty and proportion, with due thought for
the alphabet itself rather than individual characters viewed
singly, working for a forcible revision of the alphabet as a».
Whole and with full anticipatiOn of its effect as type.

3

THE comment following, on Kennerley type, is taken from MR.
NEWDIGATE 3 article, “British Types for Printing Books” in The

Art of the Book, published by John Lane. It shows the massing ,
and spacing qualities of Kennerley 1n the 24 point size.

AN ENGLISHMAN’S COMMENT

ON KENNERLEY TYPE '

, 7‘ ' ERNARD Nerigate
i" ; f .‘ says of Kennerley type.

91-0 Intelligent study of Ital
’ ian mOdels also gives us
1‘ the ‘-‘ Kennerley” type,
/ designed by the Amer!
ican Mr. Goudy. This type is not in any
sense a copy of early letter—1t 15 original;
but Mr. Goudy has Studied type design
to such good purpoSe that he has been
able to restore to the Roman alphabet
much of that lost humanistic charad’cer
Which the first Italian printers inherited
from their predecessors, the scribes of ,
the early Renaissance. Besides being
beautiful 1n detail, his type is beautiful
in the maSs; and the letters When set in!
to words seem to lock into one another
With a closeness Which is common in the

 

 

letter Of early printers, but is rare in mo (1’
ern type. The “ Kennerley” type is quite
clear tO read and has few features which
by their strangeness are likely tO waken
the prejudice Of the modern reader. Since
Caslon first began casting type in 1724,
no such excellent letter has been put
Within reach Of English printers.

[24 pointKnNNan 25141138. $ .55]

THE GLORY OF
THE ROMAN ALPHABET LIES IN
ITS CAPITALS WHILE THAT OP THE
GOTHIC TEXT-LETTER LIES IN ITS
LOWER CASE vTHIS IS BUT NATU-
RAL AS THE ROMAN ALPHABET
ORIGINALLY WAS AN ALPHABET
OF CAPITALS ONLY w ‘

[18 point FORUM TITLE (Patent No. '451O8) ' $5.00]

SHOWING A NEW SIZE
OF KENNERLEY’

NAME to conjure with

in the printing industry is
that of Frederic W. Goudy,
Widely known as a letter artist
and designer who has gone to
classic sources 69” given to mod/
ern printing his conception of
What is to be found there; but
probably he is the only printer
and designer who has shared
this pleasure With the printers
of America by ofFering for sale
the types he designed primarily
fOI' his OWI'l use. THE AMERICAN PRINTER

[30 point KENNERLEY 25' 14 lbs. , L , $ .65]

A SPECIMEN OF 18’ POINT KENNERLE'Y ITALIC
GIVING A BRIEF HISTORY OFTHE

ORIGIN OF ITALIC LETTER

THE year I 5.01 brings us to the real innovations which Aldus
Manutius effected in the art of typography 59° in the book trade.
‘ In that year he obtainedfrom the College a copyright often years’
duration for all works printed in the “lettere 'corsive et cancel’
laresche de Summa bellezza non mai piu facta.” This type of
which h’espeaks is his famousitalic character. Alexander Paga’
nino had been in the habit of ' using a kind of italic as early as
the- year 1491; but his type has nothing in common with that of
Aldus, which may be considered as an innovation in the art of
printing. Aldus’ italic type is a close copy of the handwriting of
Petrarch. It was cut for the printer by Francesco da Bologna,
who has been plausibly identified with Francesco Raibolini,
F rancia the painter. '

"This letter is known to most of the nations in Europe‘by the
‘name of Italic; though the Germans, and their adherents, show
themselves as ungenerous in this respect as they did with the
Roman, by calling it “Cursiv,” in order to stifle the memory of
its original descent, and deprive the Romans of the merit due
to their ingenuity. '

In the first instance it was termed Venetian, from M anutius
being aresident at Venice, where he brOught it to perfection; but
not long after it was dedicated to the State of Italy, to prevent
any dispute that might arise from other nations claiming a pri
ority, as was the case concerning the first inventor of printing.

[18 point KENNERLEY Italic. Caps, points 89’ lowercase only. 19 lbs. $ .70]

THE NEED FOR LARGER

types On smaller pages to be met

[30 point KENN‘ERLEY 25 14 lbs. ' $ .65]

TO MEET THE DEMAND FOR

books more readable than those we
[24 point KENNERLEY 25 1'2 lbs. 35 .65]

Now HAVE, PUBLISHERS ARE AGAIN MAKING
experiments in fields that have been well exploitered, and
. THAT HAVE YIELDED No SATISFACTORY RESULT. THEY HAVE BEEN

[18 point KENNERLEY 22 14' lbs. . $ .65]

TRYING, LIKE MORRIS, TO GIVE GREATER BLACKr
ness to type, vainly hoping thereby to make the types more read’
able. Some amateurs are having types made for them with very -
BLACK FACES ON RELATIVELY SHORT BODIES, OVERLOOKING THE PACT

[14 point KENNERLEY 21 1’2 lbs. . . $ .70]

THAT INCREASED BLACKNESS ON THE FACE OF THE TYPE
calls for some increase in the width of each letter, and that what is gained
in blackness is lost in. bulk. It may surprise many of these amateurs to be
TOLD THAT THEIR BROAD’FACED TYPES ARE CONTRARY TO EARLY USAGE. THE

[12 point KENNERLEY _ 21 lbs. _ $ «75]

ROMAN TYPES OF THE EARLY PRINTERS, WITH A FEW RARE EXCEP’
tions, were condensed or compressed. Publishers of that period wanted to get as much matter
in a page as could be made possible by squeezing the form of - the letters, and this fashion '
ENDURED MANY YEARS. THE TYPES OF BODONI SEEM TO BE VERY ROUND AND CLEAR, BUT HIS ROUND

[10 point KENNERLEY 20 1’2 lbs. $ .85]

Ca founts only, weighing about 5 lbs., 5 (its. a lb. additional. Sm. cap founts
01111;, weighing about I 1’2 lbs., at 10 Cts. a lb. additional. Please note, howv
ever, that no caps or small caps for the 10 int, other than those regularly
supplied with founts, are at present availa le.

54.424244244242442;4244;244:244245412
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\Q’ 24 PT. $4.25 ,
§ QUALITY TYPES 18

v; 18 PT. $5.00

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N: 45. BEAUTIFUL FORMS & 14 9”
9‘! K" 14 PT. $5.25 , L!
:4; \Q VERY EASILY IUS'I'I‘FIED , 12 ' a?
.| a , 12 PT. $5.50 I.

. , \ 3’ 4/
3: '2 LEGIBLE CLQSSPITC P3ng CAPS 10 5 'g

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* VILLAGE BORDERS

 

 

 

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N0. 1803, 48 in. $2.10 NO- I808, 48 in. $2.10

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N0. 1804.48111. $2.10 No 1204, 60 1n. $2. 25

N0. 1805,48 in. $2.10 No. 1806, 48 in. $2.10

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Terms: On all orders accompanied by remittance _. 3 Per cent
is allowed ;_ on bills paid in IO days from date of invoice, 2
Per cent; after IO days bills are net, and if not paid within
30 days are subject to sight draft. On orders for 100 lb. founts
or over, 5 Per cent discount from Prices quoted is allowed,
otherwise Prices are net as quoted.

 

 

 

 

 

DESIGNED AND SOLD BY

FREDERIC w. GOUDY , f
I THE VILLAGE PRESS AND LETTER FOUNDERT

:2 EAST 29TH STREET, NEw YORK CITY

COMPOSITION BY BERTHA M. GOUDY PRESS WORK BY C. B. RUCKSTUHL, INC.

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