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Font Goudy Stout font download free at Fontsov.com, the largest collection of capitals fonts for Windows 7 and Mac OS in TrueType(.ttf) and OpenType(.otf) format. Fonts available at Fonts2u.com are either GNU/GPL, Freeware, free for Personal use, Donationware, Shareware or Demo. Although we have indicated the license type.

Goudy Stout Font History

Detailed Information on the Font License: unknown Date added: 2017-03-14 Category:,,,, Downloads: 33 For Operating Systems: Windows, Mac, Linux For programs: Microsoft Word, Photoshop, Corel Draw, Adobe Illustrator, Autocad, Sony Vegas, Adobe Reader Than to open a file: For Windows: FontForge, CorelDRAW Graphics Suite X5-X7, CorelDRAW Graphics Suite 2017, FontCreator, Microsoft Windows Font Viewer, AMP Font Viewer. Transformers 4 Games For Windows 7. For Mac OS: FontForge, Apple Font Book, Bohemian Coding Fontcase, Mac OS X Font Book. For Linux: FontForge.

Goudy Old Style Date released 1915 Goudy Old Style (also known as just Goudy) is a classic originally created by for (ATF) in 1915. Suitable for both text and display applications, Goudy Old Style is a graceful, balanced design with a few eccentricities, including the upward-curved ear on the g and the diamond shape of the dots of the i, j, and the points found in the period, colon and exclamation point, and the sharply canted hyphen. The uppercase italic Q has a strong quality. Generally classified as a (sometimes called ) face, certain of its attributes—most notably the gently curved, rounded serifs of certain —suggest a Venetian influence. The design is relatively light in, and has been described as particularly suitable for titles and headings.

The set of fonts in the Goudy 'family' in ATF's 1923 specimen book: the Goudy Old Style, Goudy Catalogue and Goudy Handtooled subfamilies. Goudy Cursive is effectively Goudy Old Style with swashes. Several variants, designed by several designers, were released in the ensuing years (all faces ATF unless otherwise specified).

By Goudy: • Goudy Old Style (1915) • Goudy Old Style Italic, inspired by designs. • Goudy Cursive, a 'loose italic' adding swashes and more calligraphic alternate characters.

Missing from most digitisations but included on the LTC release. By: • Goudy Bold (1916) • Goudy Title (1918), a full size variation on Goudy’s small capitals from the Goudy Old Style roman. • Goudy Bold Italic (1919) The version of the italic includes cursive capitals. • Goudy Catalog (1919) and Goudy Catalog Italic (1921), designed as medium weight companions. • Goudy Extra Bold + Italic (1927) By others: • Goudy Handtooled + Italic (1922), were in-line versions of Goudy Bold + Italic (with a white line inside the letter) and were probably designed by, though other authorities credit either. Again, the version of the italic includes cursive capitals.

• Goudy Children, which features single-story variants of the letters a and g in italic, bold, and bold italic styles and is used in children's books but is not available commercially. The face was an instant best seller, prompting ATF to issue a special 124-page specimen book of the series in 1927. The of Goudy Old Style were kept short at ATF's insistence to allow tight line setting on their system, which irritated Goudy. In addition, he sold the design to ATF for $1500 and received no royalty on the type, causing his relationship with the foundry to deteriorate. Over time, because graphic designers came to see the face as more suitable for display, the bold became the most enduringly popular of the family. In his 1946 autobiography, Goudy wrote that: I had at some time or other copied a few letters of classic form from a portrait painting - I have always said 'by Hans Holbein' but later search has never brought these particular pattern letters to light. [Goudy does not say which.] Anyway, I decided that I would attempt to complete an alphabet of capitals along the lines of the letters I had copied.

Then came the difficult task of designing a lower-case in perfect harmony. Regarding the italic, Goudy wrote: I studied many of the older italics and came to the conclusion that.some of the outstanding italics of the sixteenth century had little or no inclination and yet preserved their italic character. Taking the italic as a starting point [I] succeeded in producing an original letter which, I believe, constituted the first distinctive italic in modern times.