“Imagine that you have before you a flagon of wine. You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering . The Crystal Goblet by Beatrice Warde Excerpt from a Lecture to the British Typographers’ Guild. Imagine that you have before you a flagon of wine. You may . This free English Literature essay on Essay: ‘The Crystal Goblet’ – Beatrice Warde is perfect for English Literature students to use as an example.
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Eye, the international review of graphic design, is a quarterly printed magazine about graphic design and visual culture. Beatrice Warde was an American typographic expert who was the publicity manager for the Monotype Corporation and editor of the Monotype Recorder and Newsletter for most of her career. Here designer Sara De Bondt introduces a transcript of a rediscovered interview with Warde. Portrait giblet Beatrice Warde,not long after her arrival in London.
From the archive of St Bride Library, London. Thanks to Dr Shelley Gruendler for caption information. The following text is an edited transcript of the interview. Note that in the unedited version, some questions were asked twice: One of the few women typographers in the world has just visited South Australia.
New Project: (Breaking) The Crystal Goblet
Her career there has brought her into close co-operation with leading typographers and book designers from many countries. Mrs Warde, what does your work actually involve?
Well, it involves writing a good many articles and giving a good many lectures on the history and the design of the printed word, and advising innumerable people on how their printed matter should look: No, the printing trade is barred to women, on the craftsman level.
But of course in design, anyone who has a good sense of design can make the grade if they know their stuff — whether he or she is a man or a woman …. Well, indirectly when I was a child of thirteen, at a progressive school in New York.
They gave me a lettering pen and taught me the great secret of calligraphy and good handwriting, the italic hand and all that.
And I found that it interests everyone in the shape of letters, and it led me into an interest in typography. Well, I wanted a pen name. And they all thought this learned Frenchman wrote English remarkably well. Is there any opening in this field for women? There is a considerable opening now in England, there are a number of brilliant typographic designers, and in America.
But in the printing trade proper I was very much impressed to meet in Adelaide the only woman-employing printer in Australia, and one of the very few women-employing printers in the world. Well, in a way it was sudden and dramatic. I was the assistant librarian at a great typographic library in America, and we had an exhibition of modern typography, and some material came from England, which convinced me that the typographic future in design, particularly book design, was in London.
What the Composing Machine, the Monotype Composing Machine, was doing made me realise that hand-setting of fine printing was relatively a thing of the past. So I came and did freelance research work unaccompanied in England, and was eventually offered a job. They divorced two years after their arrival in England.
Beatrice Warde – Wikipedia
Well, really, [there are] two, I suppose. Letterheads, of course, because those are the voice of the firm, and it shows whether the firm has good manners or bad manners, you might say, but also beer coasters, wine labels, little amusing things like that. I see very interesting things starting in the schools; some of the advertising people are doing remarkably interesting improvements in the standard of their work; and some of the best printed books of the year have been produced in certain printing offices in Australia.
The general standard is not yet up to that of the international level, such as that of England, Switzerland and Germany, but it is rapidly getting that way.
I should say first of all pay great attention to the graphic art schools, because there, where the printing trade and the commercial arts meet and work together, you will find the basis for a vigorous and nationally proud school of typographic design.
Every manufacturing export country has got to pay the greatest attention to its printed matter. The letterhead, the sales catalogue, the price list which go abroad, advertising manufactured goods, must be up to the standard of the other nations which are yoblet for those markets.
Free English Literature essays
I think the real purpose of good printing should be to convey what the author is saying to the reader with the minimum of wagde. The great thing about printing is it should be invisible. You should know what the author or the writer is saying, and not be adversely affected by any show-off-ism or ugliness or sloppy look about the medium through which his words are being conveyed.
Without a considerable body of public opinion in favour of bewtrice, well-mannered printing, the printing industry cannot do its best. Now that sort of thing makes you conscious of the look of printed letters, poster letters, engraved letters on buildings, all that sort of thing.
Most certainly it can. Taste can be warped in the early years more surely than any other way. Now there are thousands of children in Australia who will never see any other kind of printed book than a schoolbook. Therefore the schoolbook, the look of it, is the most important aspect of all typography.
The Crystal Goblet by Beatrice Warde
There are many rivals now to the printed word, including the one I am using at this moment, but there is nothing like printing for staying with you. It goes — as I know through the war — it goes down into a bomb shelter with you, when nothing else can. It is available from all good design bookshops and online at the Eye shopwhere you can buy subscriptions, back issues and single copies of the latest issue.
Sara De Bondt introduces a transcript of a rediscovered interview with Warde. Does this mean you had to go through the printing trade? But of course in design, anyone who has a good sense of design can make the grade if they know their stuff — whether he or she is a man or a woman … I: When did you first become interested in the fine beagrice of printing?
Was it a sudden decision to pursue your career in England? Have you formed goble opinion on the standard of Australian printing? What do you think we can do to raise our standards?
What do you think good printing should aim at? What do you think is the best way of raising a print-conscious public? Do you think good book design can help introduce children to reading? First published in Eye no.
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