Wrong section of the forum.

I changed it to general discussions.

http://typophile.com/node/36266

You would get some good academic perspective from Goudy’s Type Designs, a specimen book written by the man himself.

Deepdene was not one of his more popular faces, and I don’t recall ever coming across it used commercially (and I’ve spent a lot of time looking at magazines from the ’20s and ’30s).

There are several digital interpretations of the face—a comparison of their relative merits would also be a good academic project.

As for the font in use, why not have a go at doing some typography in the style of the historicist era in which Goudy’s types were front and centre? — making use of small caps, italics, old style figures, all the good stuff!

http://pinterest.com/pin/49539664621187883/
http://pinterest.com/pin/49539664621163576/

Here's some info on Deepdene: the spacing is so bad (at least in digital) that I was once commissioned to fix it. :-/

hhp

I have encountered Deepdene only a few times in the wild. And mostly in display.

I have two examples among my own book collection. Deepdene was used for the title page of The Beach of Falesá, by Dylan Thomas [New York: Stein and Day, 1959]. Deepdene Roman and Italic were used for section and chapter titles in Great American Nature Writing, edited by Joseph Wood Krutch [New York: William Sloane Associates, 1950].

(Interestingly, it was paired with Electra for text in both cases. Go figure.)

But, of course, these were not Linden Hill.

Just remembered this, Chess in a Nutshell by Fred Reinfeld, Doubleday, New York, 1958. The fit of Deepdene is classic Goudy—very tight. I wonder how the digital versions compare in that respect.
The body face is Fairfield.

I remain impressed with Goudy’s ingenuity in overcoming a general lack of kernability with cast metal letters. In the instance shown just above, I am quite taken with the subtle overshoots on the bottoms of the /c/ and /e/, along with the dip-below diagonal serif on the bottom of the /d/.

@picArt

At Kernest Konstellations, we're using Linden Hill in combination with some other fonts, in setting an excerpt from Walden, and On the Duty of Civil Disobedience by Henry David Thoreau. Titled Spring.
Linden Hill is being used sparingly to provide contrast to text that's extraneous in some way from the main text - such as the title of the volume from which the excerpt comes: Walden, and On the Duty of Civil Disobedience, for example.

Drop me note about it on my blog in the comments section. (See below.) From it, I can get your email, and I'll pop over a link to the piece when it publishes in a few days. It's appearing as a part of the May issue of Konstellations. (The entire package - web fonts, html, and css, all downloadable.)

Or better yet, subscribe!

Regards,

Rich

Richard Fink
Blog: Readable Web
Font Director: Kernest/Konstellations

For comparison to the real Deepdene, here's how Linden Hill (at 72 points, then subsequently reduced in a paint program) looks on the screen of my computer: