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Frederic Warde (1894—1939) was a typographic designer.
Frederic Warde was born in 1894 in Wells, Minnesota, U.S.A.
In 1915 he enlisted in the United States Army, and attended the Army School of Military Aeronautics at the University of California, Berkeley during 1917-1918.
On demobilisation he worked as a book editor for Macmillan & Co, before undergoing training on the Monotype machine, after which he worked for the printers William Edwin Rudge. He had met Beatrice Becker in 1919, and they married in December 1922. From 1922 to 1924 Warde was Printer for Princeton University. The couple moved to Britain in late 1924, as Warde had been offered work by the typographer Stanley Morison, designing for The Fleuron and the Monotype Recorder. The Warde marriage did not last; the couple separated in 1926, and soon divorced, though the break-up was an amicable one.
Afterwards Warde lived in France and Italy, where he became involved in Giovanni Mardersteig’s Officina Bodoni. Warde designed a revival of the chancery cursive letter forms of Renaissance calligrapher Ludovico degli Arrighi. This italic, titled Arrighi, was designed as a companion to Bruce Rogers' roman typeface Centaur. In 1926 Mardersteig printed The Calligraphic Manual of Ludovico Arrighi - complete Facsimile, with an introduction by Stanley Morison, which Warde issued in Paris while working for the Pleiad Press.
In 1928 the Monotype Corporation published Warde's Printers Ornaments on the Monotype.
Warde returned to America permanently, and he worked again for William Edwin Rudge from 1927 to 1932. He also designed for private presses such as Crosby Gaige, the Watch Hill Press, Bowling Green Press, the Limited Editions Club and Heritage Press. Warde worked as production manager for the American office of the Oxford University Press from 1937 until his death in 1939.
- The Grolier Club in New York has an archive of Warde's papers . The biographical notes there are the basis of this article.
- Simon Loxley, 'Whatahell! - The Letters of Frederic Warde to William Kittredge', in Parenthesis; 16 (2009 February), p.21-24