The importance of typography is for type to be readable and its value to be visible to the human eye. Typography takes part of a language that we can all communicate with on different platforms and the mix of art defines color, value and visibility. But what if print were to be invisible? It’s an odd question but it’s definitely experimental and a challenge for most typographers that overall designers tend to think outside the box. Typically print has color which is often white or a very light brown color for the type to be visible but if print were invisible, I think that type will still be visible. The best example to describe an invisible print would be glass and it’s a colorless platform (transparent). Imagine that having a bottle of wine is typically made out of glass, there’s text and it’s yet readable at instant. According to the article, ‘The Crystal Goblet, or Why Should Printing Should be Invisible’, Beatrice Warde states, “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.” Restating from Warde’s point about wine glass bottles, glass may be invisible but text will still be visible because of its color, value, contrast, alignments and more that isolates the background. A similar quote from Gyorgy Kepes, he says, “for example, I compose with a white and black and I arrange when the white has become a paper, and that black a shadow! I mean to say that I arrange the white to make it become a paper and the black to make it become a shadow.” Defining a separation of color for text (as the shadow) to be visible to the background (as the paper). Going back to color theory, this method is similar to the complementary color mode, both colors conflict one to another, creating a barrier between them, it’s no coincidence that a colorless print with text can still be readable.