In The Cristal Gobelet, or Printing Should Be Invisible (1930), Beatrice Warde defends invisibility as the supreme quality of typography, as a means of clearly conveying thought through text. Warde satates the anthropologically fundamental importance of language:
Talking, broadcasting, writing, and printing are all quite literally forms of thought transference, and it is the ability and eagerness to transfer and receive the contents of the mind that is almost alone responsible for human civilization.
Even though such “transference” occurrs through different mediums, it is with no surprise the textual (and printed) form which interests the most the typographer:
It is sheer magic that I should be able to hold a one-sided conversation by means of black marks on paper with an unknown person half-way across the world.
I share an equal enthousiasm for the written word.