Frederic W. Goudy Award | |
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Awarded for | Excellence in typography |
Sponsored by | Cary Graphic Arts Collection |
Location | Rochester Institute of Technology |
Country | United States |
First awarded | 1969 |
Last awarded | 2019 |
The Frederic W. Goudy Award & Lecture were established in 1969 by funds donated to Rochester Institute of Technology (RIT) by the Mary Flagler Cary Charitable Trust in memory of her late husband, Melbert B. Cary, Jr., a typographer, type importer, fine printer, book collector, and president of AIGA (American Institute of Graphic Arts). [1] The award was named after illustrious American type designer Frederic W. Goudy, a friend and business associate of Melbert Cary.
In the Preface to the book Twenty Years of the Frederic W. Goudy Award [2] [3] (Press of the Good Mountain, RIT 1988), Alexander Lawson, RIT Cary Professor emeritus and 1979 recipient of the Goudy Award, wrote:
"The Cary Trustees also funded an annual Frederic W. Goudy Award to be given to an outstanding practitioner in the field of typography. The person would deliver a Goudy Lecture and meet with students in class and in groups, thus providing an opportunity for informal contact with a distinguished graphic arts figure."
In the "Foreword" to the same book, Mark Guldin, then Cary Professor, former chair of the School of Printing and former Dean of the RIT College of Imaging Arts and Sciences, wrote:
"Down through the years, we have always tried to choose those designers and typophiles for the Award who have that thread of attachment to Frederic W. Goudy, those who have worked with the design of typefaces and those who have produced designs cradled in the traditional values of Gutenberg, Jenson, Aldus, Baskerville, and Bodoni. Goudy cherished those traditional values."
The Goudy Award and Lecture was given annually from 1969 to 1995. It was discontinued in 1996 when the institute diverted the funding to other purposes. It was revived in 2012, discontinued again, and revived again in 2015. Printing and typography RIT alumni and friends of the Cary Graphic Arts Collection hope it shall continue annually.
In the first years of the Goudy Award, some of the honorees had known Fred Goudy personally, thereby establishing a direct link with the eponymous past. Although that generation of typographers has passed on, along with much of the analog typographic technology and industry that Goudy and Cary were familiar with, many of Goudy's typefaces, long admired and cherished by typographic aficionados, live on and remain popular in digital formats, while new typeface designs by several Goudy Award honorees have become widely popular in digital form.
Goudy Award honorees have generally been outstanding practitioners in the field of typography, including some or all of the following professions:
The work of the Goudy Award honorees reveals another, implicit criterion: they elevated the artistic, scholarly, and ethical level of typography, whether through type design, like Hermann Zapf, Gudrun Zapf-Von Hesse, Adrian Frutiger, Matthew Carter, and Kris Holmes; through the art of fine printing, like Will Carter, Henry Morris, and Giovanni Mardersteig; through artistic typography and printing in commercial publishing and graphic design, like Roderick Stinehour, Bradbury Thompson, and Robert Bringhurst; through engagement in the social issues and responsibilities of typography, like Edna Beilenson and Robert (Doc) Leslie, and through typographic education and scholarship, like Alexander Lawson, John Dreyfus, Warren Chappell, and Charles Bigelow.
Goudy Award honorees have been among the most honored and admired figures in the typographic arts. Three have received MacArthur Prize Fellowships (Bigelow, Carter, and Van Vliet). Four have received the AIGA Medal (Mardersteig, Leslie, Thompson, Carter). Four have received the Mainz Gutenberg Award (Mardersteig, Zapf, Frutiger, Dreyfus). Nine have received the Type Directors Club Medal (Zapf, Middleton, Leslie, Thompson, Frutiger, Craw, Benguiat, Carter, Lange). Others have received numerous honors and awards in England, Europe, and America.
Palatino is the name of an old-style serif typeface designed by Hermann Zapf, initially released in 1949 by the Stempel foundry and later by other companies, most notably the Mergenthaler Linotype Company.
Hermann Zapf was a German type designer and calligrapher who lived in Darmstadt, Germany. He was married to the calligrapher and typeface designer Gudrun Zapf-von Hesse. Typefaces he designed include Palatino, Optima, and Zapfino. He is considered one of the greatest type designers of all time.
Matthew Carter is a British type designer. A 2005 New Yorker profile described him as 'the most widely read man in the world' by considering the amount of text set in his commonly used fonts.
Frederic William Goudy was an American printer, artist and type designer whose typefaces include Copperplate Gothic, Goudy Old Style and Kennerley. He was one of the most prolific of American type designers and his self-named type continues to be one of the most popular in America.
Cooper Black is an ultra-bold serif typeface intended for display use that was designed by Oswald Bruce Cooper and released by the Barnhart Brothers & Spindler type foundry in 1922. The typeface was drawn as an extra-bold weight of Cooper's "Cooper Old Style" family. It rapidly became a standard typeface and was licensed by American Type Founders and also copied by many other manufacturers of printing systems.
Kris Holmes is an American typeface designer, calligrapher, type design educator and animator. She, with Charles Bigelow, is the co-creator of the Lucida and Wingdings font families, among many other typeface designs. She is President of Bigelow & Holmes Inc., a typeface design studio.
Robert Joseph Slimbach is Principal Type Designer at Adobe, Inc., where he has worked since 1987. He has won many awards for his digital typeface designs, including the rarely awarded Prix Charles Peignot from the Association Typographique Internationale, the SoTA Typography Award, and repeated TDC2 awards from the Type Directors Club. His typefaces are among those most commonly used in books.
The Type Directors Club (TDC) is an international organization devoted to typography and type design, founded in 1946 in New York City. TDC believes that type drives culture, and that culture drives type—and is dedicated to cataloging, showcasing, and exhibiting typography worldwide.
The International Typeface Corporation (ITC) was a type manufacturer founded in New York in 1970 by Aaron Burns, Herb Lubalin and Edward Rondthaler. The company was one of the world's first type foundries to have no history in the production of metal type. It is now a wholly owned brand or subsidiary of Monotype Imaging.
Gudrun Zapf-von Hesse was a German book-binder, calligrapher and typographer.
Julian Waters is a calligrapher, type designer and teacher.
The Officina Bodoni was a private press operated by Giovanni Mardersteig from 1922. It was named after the great eighteenth-century Italian typographer Giambattista Bodoni. The Officina Bodoni is known for printing books of the very highest quality and the finest craftsmanship.
Rick Cusick is an American lettering artist, calligrapher, type designer and book designer.
Giovanni Mardersteig was a German-born printer and typographer, making much of his career in Italy. He is particularly known for founding and running Officina Bodoni, a small press producing high-quality editions, and his typeface Dante.
A Tally of Types is a book on typography authored by the type designer Stanley Morison. It was first published in 1953, and showcases significant typeface designs produced during Morison's tenure at the Lanston Monotype Corporation for their hot-metal typesetting machines during the 1920s and 1930s in England.
The Cary Graphic Arts Collection is a library and archive of books, type specimens, manuscripts, documents, and artifacts related to the history of graphical communication. Located in Wallace Library at the Rochester Institute of Technology (RIT), in Henrietta, New York, the Cary Collection contains literate artifacts as old as cuneiform tablets and as recent as computer tablets and e-books, in all comprising some 40,000 volumes in addition to manuscripts, correspondence, printing types and traditional letterpress printing equipment.
A reverse-contrast or reverse-stress letterform is a design in which the stress is reversed from the norm: a typeface or custom lettering where the horizontal lines are the thickest. This is the reverse of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet writing and especially printing. The result is a dramatic effect, in which the letters seem to have been printed the wrong way round. The style invented in the early nineteenth century as attention-grabbing novelty display designs. Modern font designer Peter Biľak, who has created a design in the genre, has described them as "a dirty trick to create freakish letterforms that stood out."
Bertha Matilda Sprinks Goudy was an American typographer, fine press printer, and co-proprietor with Frederic Goudy of the Village Press from 1903 until her death in 1935.
Edna Rudolph Beilenson (1909–1981) was an American typographer, fine press printer, typesetter, book designer, cook book author, publisher, and co-proprietor of the Peter Pauper Press from 1931 until his death in 1962, and afterward its sole proprietor and president until her death in 1981.