Beatrice Warde | |
|---|---|
 Beatrice Warde in 1925 | |
| Born | Beatrice Lamberton Becker (1900-09-20)September 20, 1900 New York City, U.S. |
| Died | September 16, 1969(1969-09-16) (aged 68) Epsom, Surrey, England |
| Nationality | American |
| Other names | Paul Beaujon |
| Alma mater | Barnard College |
| Occupation(s) | Publicity manager, Editor |
| Known for | Typographer, historian of printing |
| Notable work | The Crystal Goblet (essay) |
Beatrice Lamberton Warde (September 20, 1900 – September 16, 1969, néeBeatrice Becker) was a twentieth-century writer and scholar oftypography.[1][2] As a marketing manager for the BritishMonotype Corporation, she was influential in the development of printing tastes in Britain and elsewhere in the mid-twentieth century and was recognized at the time as "[o]ne of the few women typographers in the world".[3][4][5] Her writing advocated higher standards in printing, and championed intelligent use of historic typefaces from the past, which Monotype specialised in reviving, and the work of contemporary typeface designers.[5][6][7][8]
Born in New York, Warde was the only daughter ofMay Lamberton Becker, a journalist on the staff of theNew York Herald Tribune, and Gustave Becker, composer and teacher.[9] Warde was educated atBarnard College atColumbia University. At the age of thirteen her school introduced her to the art ofcalligraphy.[5] This led to a general interest in typography and the history of letter forms during her college years. This interest did not translate into a print-related apprenticeship because she said that "the printing trade is barred to women, on the craftsman level," a fact that had "been true for many centuries".[5] Despite the prejudice against women in the trade, she said that in contrast, "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".[5]
She became acquainted withBruce Rogers and, on his recommendation, was appointed after graduation to the post of assistant librarian to theAmerican Type Founders Company. She worked inJersey City underHenry Lewis Bullen, where she concentrated on self-education and research. While there she became acquainted with eminent typographers includingDaniel Berkeley Updike andStanley Morison, who later played a highly influential part in her professional life. She remained there from 1921 to 1925.[citation needed] While at ATF she was intrigued by Bullen's comment that he was sure the "Garamond" type his company was reviving, supposedly the work of sixteenth-century engraverClaude Garamond, was actually the work of someone else, noting that he had never seen it in a book of the period.[10][11]
Recognising that the future of typographic and book design was inLondon with the new Monotype Composing Machine.,[5] Warde moved to Europe in 1925.
Beatrice Warde spent time investigating the origins of theGaramond design of type, and published the results inThe Fleuron in 1926 under the pen-name "Paul Beaujon".[a] Her conclusion that many typefaces previously attributed to Claude Garamond were in fact made ninety years later by Jean Jannon was a lasting contribution to scholarship.[12][b] Warde later recalled she had amused herself imagining her 'Paul Beaujon' persona to be "a man of long grey beard, four grandchildren, a great interest in antique furniture and a rather vague address inMontparnasse."[14] She noted that the deception confused, but was not immediately suspected by other historians, who were surprised to read a work by a Frenchman in idiomatic English and mocking received wisdom by quoting fromThe Hunting of the Snark.[5]
After publishing her discovery of Garamond's origin, "Paul Beaujon" was in 1927 offered the part-time post of editor of theMonotype Recorder, and Warde accepted—to the astonishment ofLanston Monotype Corporation executives in London, who were expecting a man. She was promoted to publicity manager in about 1929, a post she retained until her retirement in 1960 on her 60th birthday. She thought of herself as an outsider, working in a man's world, but she gained respect for her work and her personal qualities.[citation needed]
During her time there, she was responsible for planning the advertising and marketing activities for Monotype's new and widely acclaimed products. Working with Morison, Warde produced materials and lectures that connected British nationalist sentiment to the visual identity of corporations and functionalist views of efficiency.[15] This kind of promotional activity aligned the political and public intentions ofJan Tschichold's New, orModern typography, with the goals of business.[15]
With the tenet of readability being a key benefit of good typography, Warde worked withEric Gill to launch and promoteGill Sans.[15][16] Warde penned her famous broadside "This is a Printing Office", to show thePerpetua typeface off. It has since been found on the walls of numerous printing offices and has been cast in bronze and is mounted at the entrance to theUnited States Government Publishing Office in Washington, D.C.; it has been translated into numerous languages and has been parodied.
Warde's approach of connecting the craft of typography with the concerns of business were not always welcome, even within Monotype. She exchanged many heated letters with Eric Gill about the nature of this relationship, with Gill denigrating the use of promotional materials to sell his designs.[15][c] Warde defended her position by arguing, as one historian notes, "that mass culture would be elevated and the public good achieved when artists came to accept their social responsibility, and to regard the forces of advertising as a means to achieve their ends, not the defeat of everything".[15]
While aesthetically associated with "the new traditionalist" typographic movement, Warde made herself part of a larger campaign to raise the standards of commercial publishing by advocating "for the role of design in good management".[15] She often visited printing schools, universities, and factories both in England and abroad to bring this message. During an invitation to speak in Australia, she spoke for cultivating "a print-conscious public" as a necessity for the printing industry to do its best. For Warde, this meant teaching good handwriting and designing attractive schoolbooks for children. All of this was to promote "a general, high, critical standard in the public at large".[5]
AsAllen Hutt wrote in 1969:
"The Crystal Goblet" is an essay ontypography by Beatrice Warde. The essay was first delivered as a speech, called "Printing Should Be Invisible," given to theBritish Typographers' Guild at theSt Bride Institute in London, on October 7, 1930.[18][19] Like many of Warde's other writings, the essay was written with the intent to be spoken before printed, as she carefully considered the invocations of voice, presence, and personal connection while reading aloud.[19]
The essay is notable historically as a call for increased clarity in printing and typography. It is now significant as a common reading in the study of typography and graphic design.[d] The essay has been reprinted many times and is a touchstone for the concept of "clear" typography and the straightforward presentation of content.
Days after her 1930 address, the lecture appeared in a newsletter called theBritish & Colonial Printer & Stationer. It was printed again as a pamphlet in 1932 and 1937. Thenceforward, it appeared as either "The Crystal Goblet" or "The Crystal Goblet, or Printing Should Be Invisible." In 1955 it was published again and reached its widest audience yet in a book calledThe Crystal Goblet: Sixteen Essays on Typography.
Typically, design historians associate Stanley Morison as the source of "new traditionalist" ideas and "credit Beatrice Warde with spreading his influence.[20] "The Crystal Goblet" is rich with metaphors. The title itself is a reference to a clear vessel holding wine, where the vessel, the printed word, gives no obstruction to the presentation of its content, the text. Warde poses a choice between two wine glasses: one of "solid gold, wrought in the most exquisite patterns" and one of "crystal-clear glass."
Now the man who first chose glass instead of clay or metal to hold his wine was a "modernist" in the sense in which I am going to use that term. That is, the first he asked of this particular object was not "How should it look?" but "What must it do?" and to that extent all good typography is modernist.
Throughout the essay, Warde argues for the discipline and humility required to create quietly set, "transparent" book pages.
{{cite book}}: CS1 maint: multiple names: authors list (link)Warde's success as a design communicator has placed much of her work, likeThe Crystal Goblet, within the canon of graphic design and typography history. She had, as one historian has noted, "the popular touch" which connected printing education with the printing trade.[21] Her work has been continually referred to within discussions on graphic design and typography, for example during the 1990s "legibility wars" or debates concerning electronic interface design.[22]
In 2010, an archive relating to her life and work was established at theCadbury Research Library, University of Birmingham.
TheType Directors Club and Monotype offer a scholarship under her name for young women who demonstrate exceptional talent, sophistication, and skill in the use of typography. The Beatrice Warde scholarship emphasizes the merging of technology and typography, as she used to encourage the best use of technology in design.[23]
In 1922, Beatrice marriedFrederic Warde, printer to Princeton University and a typographic designer. After moving to Europe in 1925, their marriage ended in separation in November 1926, followed by divorce in 1938.[24] Although it is known that the glamorous Warde posed for Eric Gill, it was Stanley Morison with whom she had a long intimate relationship. Morison divorced his wife for her, and Beatrice left her husband for him. Although, Morison, being a Catholic, decided he could not actually marry Warde, she was with him when he died in 1967.[25]
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