Beatrice Warde was, by all accounts, a formidable woman. Typographic expert, friend and lover of Stanley Morison, a woman in a man’s world, Beatrice gave it as she saw it.
Beatrice Warde woodcut by Eric Gill, 1926 [second state]
Born in the USA in 1900 [her mum was a literary critic, dad a composer], she moved to Europe to pursue her typographic career after learning her trade from Henry Lewis Bullen.
Now there’s another story. Mr Bullen [1857-1938] was born here in Australia [Ballarat], before emigrating to the States in 1875, ending up creating one of the greatest typographic libraries for the American Type Founders Co. [This is now with Columbia University.]
Back to Beatrice. She posed for Eric Gill [was one of his 25 Nudes, though which of the rather stylised cuts is unclear], caused Stanley to end his marriage, he spent the rest of his life in celibacy [being Catholic] and she became champion of the ‘traditionalist’ form.
John Dreyfus wrote this of Beatrice in the Penrose Annual [1970]: ‘She was a strikingly handsome woman…If she had wished, she could easily have built up her
Beatrice Warde in characteristic portrait by Eric Gill
reputation on charm alone. But her mind was too questing and honest to avoid intellectual problems. She thought out everything for herself and never lacked the courage to do what she thought needful’. There writes a man. [By the by, the 1970 Penrose has a cover design by David Kindersley.]
If you’d like to listen to Beatrice, speaking in Adelaide, Australia in 1959, go here to the amazing Typeradio [I found it through the equally amazing Eye magazine].
PS – anyone want to write a biography of Beatrice? It’s well overdue.
Street signage is all about readability: is about ensuring the viewer understands the pictogram. When UK road signs were being redesigned in the 1960s by Calvert and Kinnier there was a clear imperative to ensure there was no ambiguity. However, some 50 plus years later, in Brisbane, Qld, Australia I encounter this:
Sign seen in Brisbane car park
What does it mean? And why the lettering? And why no feet?
And here’s another one taken locally. What is it about graphic design and the hand-less and feet-less?
Footless and handless pedestrian may be in need of surgical assistance itself
More please – let’s start a discussion.
Eric Gill: artist and abuser
I have written at some length on this blog over the years about the man known as Eric Gill. [See here and here and here for example – there are others too.] I am motivated to add to the already swollen record by an article in The Observer of London by Rachel Cook headlined Eric Gill: can we separate the artist from the abuser? I recommend you follow this link and read the (very long) essay.
To clear up one point. Cooke writes: ‘Eric Gill, long dead and widely considered to be one of the greatest and most influential British artists of the 20th century…’.
Who considers this statement to be true? What is the source for this assertion? Gill was and never will be considered ‘one of the greatest and most influential British artists of the 20th century’. In my opinion, Gill was a sculptor of repetitive talents; however, Gill was a fine letter-carver and useful typographer.
He was also a paedophile, as I have stated in the past. My conflict is that I was heavily influenced by his work as a stonemason, letter-carver and for a long period of time actually sourced his material and went on a sort of pilgrimage to Pigotts [see here].
I will not be able to visit the new exhibition at Ditchling – for those in the UK who can please do and please comment here on your thoughts/reactions. Many artists, perhaps the majority, do, as one observes at the end of Cooke’s essay, have a ‘…libidinous drive…’ and this charges their work – think of Lucian Freud for instance. But this is no excuse for the man Gill.
In Gill’s singular case I argue that, no, it is not possible to separate artist from abuser, neither should we. Yes, there needs to be full transparency in the Ditchling exhibition; and yes, young adults, do need to be told of his incestuous relationships and be told his daughters, and others, were victims (please don’t dodge this by using the politically correct ‘those who experienced abuse’) of his abuse.
Your comments welcome.
Simon Griffin, writing in Fucking Apostrophes, [Icon Books, London, 2016] observes that ‘Geoffroy [sic] Tory is considered one of the people responsible for introducing it [the apostrophe] to the French language in the 15th century’ (p.16).
The letter S as drawn by Geofroy Troy in his Champ Fleury
A disputable claim given that Tory’s Champ Fleury wasn’t published until 1529. Nevertheless, turning to that volume, Tory himself writes: ‘…if it should happen that one has occasion to write in Attic letters such verses, wherein the S should disappear, one may write them clearly & wittingly without putting the said letter S where it might be lost, and put an apostrophe over the place where the S should be. This apostrophe, being above the line at the end of a word, signifies that some vowel or an S has been dropped because of the metrical quantity of the vowel that follows it in the next syllable or word’ (trans. George B Ives, Dover edition, 1967, p.138).
Hand drawn S by Catich from The Origin of the Serif
Tory elaborates on the letter S itself, noting its Greek origin and that it makes ‘a hissingsound, of the same quality that red-hot iron makes when it is dipped in water’ (ibid, p.139). He goes on to note how a letter S (sigma in ancient Greek) represents silence ‘…for which reason the ancients often wrote it alone above the door of the place where they ate and drank with their good friends; in order to put it before their eyes that such words as they should speak at table must be spoken soberly & listened to in silence; which cannot be if there be excess in eating and drinking, which are things not meet for decency at table & for pleasant company’ (ibid, p.139).
Note: For an earlier piece on Tory go here and for more on Catich and The Origin of the Serif here
Never too late on the street
Piece of street typography taken from a train parked at Ashfield, Sydney, Australia. I present it as a record only since in a few years, who knows, this building may have been demolished or new ownership may have erased the lettering.
Never too late: street lettering from Australia
No hot metal on this Penguin
It’s 1957 and those at Penguin, namely Allen Lane, had a problem. The imprint was becoming so successful that print runs of some 50,000 were necessary to keep costs down and the paperbacks affordable. However, Allen Lane also wanted to publish original titles: and the market for these was often small, much smaller than the popular titles that kept the firm afloat (these were the post-war years, years of austerity). Think of the number of formes kept locked up in metal on the hunch a quick re-print might be required. Therefore, film-setting was investigated and Private Angelo became the first book (in England) to be printed entirely on film.
This is recorded in Penrose Annual vol.52 (1958). An article by L.S.F. Elsbury, manager, Fotosetter division, Intertype Ltd., Slough, Bucks, explains: ‘The book chosen was Eric Linklater’s Private Angelo. Sir Allen Lane decided at once to print, apart from the trade edition, a special edition of 2000 copies as a Christmas gift from him and his brother to friends in the trade. Designed by Hans Schmoller, a charming book has been produced. The text is printed on bible paper, the volume is bound in Linson vellum printed in two colours with the spine lettered in gold, and there are special end-papers by David Gentleman.’
Mr Elsbury concludes in [restrained and English-like] rapture: ‘This, then, is a step forward in a new adventure…It may give a new standard of quality to the graphic arts and, if it should be widely used, the combination of filmsetting and offset reproduction could become one of the means to help the industry keep pace with the progress of our times.’
Anyone have a copy of the original limited edition?
[Also referenced: Fifty Penguin Years, Penguin Books, 1985.]
So writes Robert Hughes [The Fatal Shore, 1988, Pan Books, p.21].* This got me thinking about the foundry process since, without the metal there is no type, and without type nothing else is possible. I turned to my books and scanned those lovely, ‘sanitised’ early prints of printing workshops.
Engraving by Abraham von Werdt (flourished 1640-80), taken from Printing To-day by John C Tarr. OUP, 1945, p.23.
They look so orderly, so clean, so hygienic. Then I turn again to Joseph Moxon and his Mechanick Exercises… [Dover Publications, NY, 1978, edited by Davis, H & Carter, H] which has sections Of setting up the Furnace and Of making Metal [pp162-167].
Moxon describes in elaborate detail how the foundry is made and the type of ingredients used: ‘…for every three Pound of Iron, about five and twenty pounds of Lead‘. Moxon concludes: ‘Now (according to Custom) is Half a Pint of Sack mingled with Sallad Oil, provided for each Workman to Drink; intended for an Antidote against the Poisonous Fumes of the Antimony, and to restore the Spirits that so Violent a Fire and Hard Labour have exhausted’. There you are.
La grant danse macabre dated 1499 and printed in Lyon, purporting to be the earliest image of a printing workshop
It was an ugly job, and may well explain why those cadavers are inserted in the 1499 image of a printers office.
- But there is no source given by Hughes to this statement. Does anyone know where he may have gleaned this information?
‘A caster at the furnace using a hand mould’. From Printing and the Mind of Man, 1963, being a catalogue of the Exhibition at the BM and Earls Court. This may be Sidney Squires of the OUP, who is shown in Moxon, p.406.
From back cover of the Printing and the Mind of Man catalogue, 1963.
