BEATRICE WARDE THE CRYSTAL GOBLET PDF

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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.

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You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. 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.

There is the long, thin stem that obviates fingerprints on the bowl. Because no cloud must come between your eyes and the fiery heart of the liquid. Are not the margins on book pages similarly meant to obviate the necessity of fingering the type-page?

Again: the glass is colourless or at the most only faintly tinged in the bowl, because the connoisseur judges wine partly by its colour 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.

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Beatrice Warde

You may choose your own favorite vintage for this imaginary demonstration, so that it be a deep shimmering crimson in colour. 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.

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Book Typography: The Crystal Goblet by Beatrice Warde

Anonymous Text preview of this essay: This page of the essay has words. Download the full version above. In the contemporary world, it might be difficult to define these terms, as they are rather ambiguous and misleading due to the fact that they are entirely dependable on the way people perceive typography, in different contexts. If we see the goblets as a metaphor for the typeface, the overall appearance of the type, and the wine as the content, the message that has to be sent, then we have two types of typography: one that manages to send the message in a clear, legible way the crystal goblet , and one that does quite the opposite the golden goblet. It is an extremely subjective matter, as some people might be unable to understand the information simply because they are not part of the target audience of that design. Depending on our cultural background and environment, the information stored in our brain represents certain things. In other words, the way we perceive a message is entirely dependable on our experience, our life, our culture.

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