"There are bad types and good types, and the whole science and art of typography begins after the first category has been set aside." - Beatrice Warde
The Crystal Goblet, or Printing Should Be Invisible by typographer Beatrice Warde (1900 – 1969). This article suggest the metaphor of how typography parallels to a crystal goblet; discussing how type should be invisible where readers should only focus on the content than what it wraps itself with.
Documented in the form of a journal, the approach taken for this editorial addresses the duality of type that should undertake depending on its varied context through a ‘before and after’ comparison while in the subject of vernacular typography.
Documented in the form of a journal, the approach taken for this editorial addresses the duality of type that should undertake depending on its varied context through a ‘before and after’ comparison while in the subject of vernacular typography.
Vernacular typography exist globally and Singapore isn’t an exception. Photographs were shot at areas such as Little India, Chinatown and Tiong Bahru; vicinities that reflected largely of the Singapore culture.
These vernacular signs were then stripped down to what Warde deems as ideal.
The comparison of the two shows how essential the various kinds of typography is to bring about the culture and identity of the space.
COLLABORATED PROJECT WITH ANN, KYLIE, YIJING.
