In 1932 Beatrice Warde delivered to the British Society of Typographic Designers what has since become one of the most recognizable statements about the design of books: The Crystal Goblet, or Printing Should Be Invisible. In it, Warde defines good typography as a crystal goblet, because everything about it is calculated to reveal rather than hide the beautiful thing which it was meant to contain. Her address argues that the true art of designers is the creation of transparent interfaces which allow readers to imbibe deeply of the intellect captured within the pages of the book without external distractions.<p>
Wardes Crystal Goblet is fundamentally contradictory. Typographers must strive to make themselves and their work invisible so that only the voice of the absent author speaks through the text; but there is no voice, only words on page produced through a great deal of human labour at a specific moment in history. But, Warde did not create her metaphor; she adopted existing imagery from the Western tradition. Nor was she the first typographer to do so. The writings and work of those involved with the creation of books has, since before the invention of the printing press, revolved around attempts to create perfect communicative interfaces books which allow the reader an unobscured view into the mind of the author. The resultant page is that with which we are most familiar: a block of black Roman-style text on a white or off-white page with blank margins.<p>
This study tracks the rise and influence of the crystal goblet motif, the dream of perfect readability, in the discourse of those directly involved with the creation of books: scribes, printers, type-cutters and typographers. It postulates transparency, or perfect readability, to be the primary motive underlying the actions of those making books, but does not assume all printers in all times have been motivated by the same forces or to the same extent. Rather, it traces the thread of transparency through many incarnations and examines the social and political factors underlying each permutation and how new elements are introduced into the discourse without completely erasing all traces of the old.<p>
Chapter One studies the Italian Renaissance and how the writing style of a small group of humanist scholars comes to dominate the printed book of the sixteenth century. Chapter Two begins with an examination of the perceived decline in typographic practice in the seventeenth century and the subsequent emergence of both writings about typography and of a new style of Roman typeface: the Modern. Chapter Three deals with similar events in the nineteenth-century first there is a perceived decline in and then a revival of printing standards. Chapter Four discusses the reconciliation of machine- production and traditional practices in the early to mid-twentieth century and the unsuccessful challenge to traditional typography posed by the Bauhaus and other Modernist schools of design.
| Identifer | oai:union.ndltd.org:LACETR/oai:collectionscanada.gc.ca:SSU.etd-12112009-141341 |
| Date | 11 December 2009 |
| Creators | Bath, Jon |
| Contributors | Stoicheff, R.P., Findlay, Len, Parkinson, David, Neufeld, Eric, Siemens, Ray |
| Publisher | University of Saskatchewan |
| Source Sets | Library and Archives Canada ETDs Repository / Centre d'archives des thèses électroniques de Bibliothèque et Archives Canada |
| Language | English |
| Detected Language | English |
| Type | text |
| Format | application/pdf |
| Source | http://library.usask.ca/theses/available/etd-12112009-141341/ |
| Rights | unrestricted, I hereby certify that, if appropriate, I have obtained and attached hereto a written permission statement from the owner(s) of each third party copyrighted matter to be included in my thesis, dissertation, or project report, allowing distribution as specified below. I certify that the version I submitted is the same as that approved by my advisory committee. I hereby grant to University of Saskatchewan or its agents the non-exclusive license to archive and make accessible, under the conditions specified below, my thesis, dissertation, or project report in whole or in part in all forms of media, now or hereafter known. I retain all other ownership rights to the copyright of the thesis, dissertation or project report. I also retain the right to use in future works (such as articles or books) all or part of this thesis, dissertation, or project report. |
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