Thursday, October 15, 2009

Beatrice Warde

info copied from: typography online

Beatrice Warde (1900-69). American typographer, writer and scholar who spent much of her working life in England. Educated at Barnard College, Columbia, where she developed an interest in calligraphy and letterforms. From 1921-25 Beatrice worked as assistant librarian with the American Type Founders Company, pursuing her research into typefaces and the history of printing. In 1925, after marrying the type designer Frederic Warde, she moved to Europe, subsequently working for the Fleuron, then edited by Stanley Morison.

Her reputation was established by a 1926 article in the Fleuron, written under the pseudonym of 'Paul Beaujon', which traced types mistakenly attributed to Garamond back to Jean Jannon of Sedan. In 1927 she became editor of The Monotype Recorder, London.

Beatrice Warde was a believer in the power of the printed word to defend freedom, Warde wrote and designed the famous Monotype broadsheet This is a printing office (1932), using Eric Gill's Perpetua typeface. Rejected the avant-garde in typography as introspective, believing that classical typography proved a 'clearly polished window' through which ideas could be communicated. The Crystal Goblet: Sixteen Essays on Typography (1955) is an anthology of her writings.

The Crystal Goblet by:Beatrice Warde

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 crimson in color. You have two goblets before you. One is of solid gold, wrought in the most exquisite patterns. The other is of crystal-clear glass, thin as a bubble, and as transparent. Pour and drink; and according to your choice of goblet, I shall know whether or not you are a connoisseur of wine.

For if you have no feelings about wine one way or the other, you will want the sensation of drinking the stuff out of a vessel that may have cost thousands of pounds; but if you are a member of that vanishing tribe, the amateurs of fine vintages, you will choose the crystal, because everything about it is calculated to reveal rather than to hide the beautiful thing which it was meant to contain.

Bear with me in this long-winded and fragrant metaphor; for you will find that almost all the virtues of the perfect wine-glass have a parallel in typography. There is the long, thin stem that obviates fingerprints on the bowl. Why? Because no cloud must come between your eyes and the fiery hearth of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-pages? Again: The glass is colorless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its color and is impatient of anything that alters it.

There are a thousand mannerisms in typography that are as impudent and arbitrary as putting port in tumblers of red or green glass! When a goblet has a base that looks too small for security, it does not matter how cleverly it is weighted; you feel nervous lest it should tip over. There are ways of setting lines of type which may work well enough, and yet keep the reader subconsciously worried by the fear of "doubling" lines, reading three words as one, and so forth.

Printing demands a humility of mind, for the lack of which many of the fine arts are even now floundering in self-conscious and maudlin experiments. There is nothing simple or dull in achieving the transparent page. Vulgar ostentation is twice as easy as discipline. When you realise that ugly typography never effaces itself, you will be able to capture beauty as the wise men capture happiness by aiming at something else.

The "stunt typographer" learns the fickleness of rich men who hate to read. Not for them are long breaths held over serif and kern, they will not appreciate your splitting of hair-spaces. Nobody (save the other craftsmen) will appreciate half your skill. But you may spend endless years of happy experiment in devising that crystalline goblet which is worthy to hold the vintage of the human mind.

Wednesday, October 14, 2009

Rick Paul on CNN

Rick Paul owns a lil diner here in town that pretty much everyone has an opinion on...but those people havent been on CNN save for the two others sitting with him, Joel Schrader owns the Capital Living "newspaper" that is circulated around Frankfort and the other lady is retired! ;)

p.s. Slim is the dude in the back, he is a black man from Memphis!

Saturday, October 10, 2009

DLR, Reggae, and Dubstep

The past few months I have been thinking long and hard about how trite lame and commercial the dance scene has become. I know it became that longer ago than a few months but give me a break, I live in Kentucky! :)

I needed a place where I felt like the community still gave a damn about people other than themselves and where it actually felt like the people cared about music!

Here are some videos from parties all over the world that are pretty good examples of why the Dubstep and DLR(digital laptop reggae)communities are making all those massive bloghouse and basically american electronic music and deejays look like a complete waste of time.

If you dont care: good for you! But I hope you have something that excites you, as music as music does me!

This video is from a launch party for "The Outlook Festival" that is held in Croatia every year.

The next video is the artist Skream, live in Vancouver for the first time everrrrr...
(sorry for the lame commercial at the beginning :P)

This last one is really the only decent video I could find of a Jahtari party.

Now for some songs...
Mungo's Hi-Fi - Did You Really Know (feat. Soom T)

PupaJim - You Are Addict... Television Addict


Maffi and Hopeton Lindo - Rude Boy