A conceptual comment on the article/speech: The Crystal Goblet, or Printing Should Be Invisible by Beatrice Warde.
Should printing be invisible? In 1955 Beatrice Warde stated that good typography was also invisible typography — or at least the reader should not notice the text setting, only the contest of the text. In 2020 I believe that this statement is no longer valid. Therefore I used Mrs Wardes text to create a booklet that challenges her statement. I used her metaphor about stained glass not being a good window; in the same way that she thinks that noticeable typography isn’t good typography.
'’The book typographer has the job of erecting a window between the reader inside the room and that landscape which is the author’s words. He may put up a stained-glass window of marvellous beauty, but a failure as a window…’’
This statement became the guideline for my concept. I wanted to show that beautiful typography is not only invisible typography. I wanted to make a statement. Therefore I set all of my text into small frames and when they are all connected they appear similar to a stained glass window.
I took Mrs Wardes own words and statements and forced it into a concept that is the complete opposite of her opinion. I did it to prove my opinion. Typography should not only be invisible.
