Unit 2 (chapter 5) History of Graphic Design

Johann Fust, Peter Schoeffer, Fust and Schoeffer, Rubrication

Because expenses of research and development were constant drain on Gutenberg's financial resources, 1450 he borrowed 800 guilders from ________ _______, wealthy Mainz burgher and merchant. His equipment was offered as collateral. Gutenberg conceived idea of printing a Bible. 1453 he borrow another 800 guilders from Fust for their common profit and established partnership in production of books. Gutenberg Bible: this first typographic book is one of the finest example of printer's art. 1) 2 columns of type with margin between them 2) 1st 9 pages: 40 lines per column 3) 10th page: 41 lines per column 4) rest of the pages: 42 lines per column 5) not clear if Gutenberg followed a manuscript like this or he began a 42-line Bible and then increased number of lines per column for economy 6) 1,282 pages in 2-volume work, increase of 2 lines per column saved additional 60 pages 7) lines of about 33 characters, each page 2,500 characters set from font of 290 different characters. Generous number of alternate characters and ligatures enabled Gutenberg to achieve richness and variety of manuscript page. 8) for enrichment, blank spaced left for decorative initials to be drawn later by scribe 9) rigorous justification of columns was possible because Latin words could be abbreviated freely. Up to 6 letters could be replaced by abbreviation symbols above the words. 10) edition of 210 copies of 180 paper and 30 fine vellum required 5,000 calfskins. 1455 Fust sued Gutenberg for 2,026 guilders in payment of loans and interest. Courts ruled in favor of Fust with requirement that he appear at local monastery and swear before God that he was paying interest on some of the money he loaned Gutenberg. Fust appeared and fulfilled the edict of court by taking oath and Gutenberg did not attend, Instead, sent 2 friends to beg Fust to give him more time. Fust declined and seized possession of Gutenberg's printing equipment and all work in progress. Fust entered agreement with Gutenberg's assistant and foreman ________ ________. Peter Schoeffer: artist/designer, illuminator and manuscript dealer and scribe at University of Paris. 1) played key role in format development and type design for 42 line bible. 2) may have been first typeface designer Firm of Fust and Schoeffer: Fust: business manager Peter Schoeffer: charge of printing (married Fust's daughter) ______________ Became most important printing firm in the world. As one of the 47 surviving copies bears a marginal notation that the hand rubrication completed August 24, 1456. ________: is the application of red-ink initials and titles by a scribe. Sales of 42 line Bible were brisk as Fust traveled widely to distribute them. He brought them to Paris and attempted to sell them as manuscripts. The 42 line Bible had no title page, no page numbers, not innovations distinguish it from handmade manuscript. Gutenberg and his customers probably wanted it this way. French observed the number and conformity of the volumes and though witchcraft was involved. To avoid indictment and conviction Fust was forced to reveal his secret.

Master of the Playing Cards, copperplate engraving

Copperplate engraving: During the time Gutenberg invented movable type, an unidentified artist called the ___________ ___ ____ _________ _________ created earliest known __________ _________ (5.19). Engraving: is printing from an image that is incised or cut down into the printing surface. To produce copperplate engraving: 1) drawing is scratched into smooth metal plate 2)ink is applied into depressions, plate surface is wiped clean, and paper is pressed against the plate to receive the ink image "The Three birds" (5.19) Finest work of the Master of the Playing Cards is a set of playing cards using birds, animals, and wild men as images. The quality of his drawings suggest he probably trained as an artist rather than goldsmith. Skilled execution implies these cards were designed and engraved by someone who had mastered engraving, not someone who struggling to perfect a new graphic technique. Scholars speculate that Gutenberg may have been involved in research and development of copperplate engravings. images by Master of the Playing Cards have been associated with Mainz illuminators, including artists involved in Gutenberg's printing works. Links binding these early printing innovators together are illustrations of birds, animals, flowers, and figures duplicated in engraved playing cards, an illuminated Bible produced in Mainz, and illumination added to surviving copy of 42 line Bible. Evidence raises possibilities: Was Gutenberg's striving to perfect the printing not just of scribes' lettering but of magnificent ornamentation and illustration of medieval manuscripts as well? Was engraving pioneered as means to print illustrations onto typographic pages which could then be hand-colored? Did Gutenberg explore using engraving plates as molds to cast as relief versions so illustrations could be printed with type? (No answers, but indicate that Gutenberg's research might have carried the printed book in different direction from its subsequent development.

Letters of indulgence

Early example of typographic design: German poem on Last Judgement, 4 calendars, number of editions of Latin grammar by Donatus. Earliest dated specimens were 1454 _________ ___ _______ issued by Mainz (5.12). 1) Pope Nicholas V issued this pardon of sins to all Christians who given money to support war against Turks. 2) 7 editions in 2 styles were ordered and numbered in thousands. 3) as evidenced by manuscript, Gutenberg made effort to imitate calligraphic style (5.13).

Firmin Didot

MODERN ________ ________invented first modern font 1) thick, thin strokes, abrupt serifs, and round terminals influenced by King's Roman and Baskerville 2) used many structure of transitional 3) vertical stress 4) extreme thick and thin 5) thin, flat serifs that do not flow into stem. They connect at a 90 degree angle 6) round, ball like terminals 7) aperture on "e" closes up significantly because top, right corner of bowl of the "e" has gotten heavy 8) more difficult to read (use for headings) Romanticism: liberation form intellectual change and believed express was everything Believed unique traits were what set people and nations from one another Industrialism and Napoleonic Wars

contrast, extremes, Didot, unbracketed, thin, handwritten, vertical,

MODERN (Didone) In the previous installment of this series, we took a closer look at Transitional style typefaces, so-called because they mark a transition from the former Old Style types—epitomized by Baskerville—and the subject of today's brief history, the Moderns, also known as Didone (the terms Modern and Didone are used synonymously throughout this article). Baskerville's types, compared with their Old Style (or Garalde) predecessors, are marked by high ________ between thick and thin strokes, so much so that one commentator declared Baskerville was "blinding the nation." The Moderns or Didones take this contrast to further _________ (just about as far as one can take them). The first Modern typeface is attributed to Frenchman Firmin ______ (son of François-Ambroise Didot), and first graced the printed page in 1784. His types were soon followed by the archetypal Didone from Bodoni. The Italian type designer, punchcutter and printer Giambattista Bodoni (what a great name! [1740-1813]) drew his influence from the Romains du Roi (with its flat, unbracketed serifs) and the types of John Baskerville (high contrast), for whom he showed great admiration. Bodoni will forever be associated with the hordes of digital interpretations from just about every type foundry on earth—the FontBook devotes some 14 pages to flavors of Bodoni; some are faithful digital renderings, others well-crafted interpretations; while others still are nothing but parodies, suitable only for poster headlines or the typographic scrap-heap. However, Bodoni was a prolific type designer, completing hundreds of typefaces; the Museo Bodoniano in Parma, houses more than 25,000 of his punches! Bodoni's Manuale Tipografico¹ (1818) contains 142 roman typefaces and their corresponding italics—and that's just volume one. The second volume includes numerous ornaments, Arabic, Greek, Russian, and Tibetan types, to name but a few. Characteristics 1. High and abrupt contrast between thick and thin strokes; 2. Abrupt (__________) hairline (_______) serifs 3. Vertical axis 4. Horizontal stress 5. Small aperture (is an area entirely or partially enclosed by a letter form or a symbol (the counter-space/ the hole of). Letters containing closed counters include A, B, D, O, P, Q, R, a, b, d, e, g, o, p, and q.) In fact, if you grab a Baskerville, take away the brackets that join serifs to stems, thicken up the vertical strokes, you'll be left with something that resembles a Didone (though don't expect it to be pretty). If you've read the preceding three installments, then you will have noticed a move away from the Humanist or __________ letterforms. The romans of the Modern types owe very little, if anything to the earlier calligraphic forms; they are too precise, too sharp, too clean. Whereas the Old Style types are Neoclassical, the Didones are Romantic. Though both forms share a common __________ (rationalist) axis, the Moderns have even greater contrast. What are they good for? There's something rather clinical about the Moderns, especially in the roman capitals. Their vertical axis coupled with strong horizontal stress furnishes them with the stiffness of toy soldiers on parade. They are elegant, and like all things elegant, look unhurried, calm, and in control. They're generally not suited to setting extended text, as the verticality of the letter forms interferes with the text's horizontal rhythm. The letters don't lead our eyes across the page, but rather up and down. Unsurprisingly, Bringhurst brings some clarity to the subject when he writes, Romantic letters can be extraordinarily beautiful, but they lack the flowing and steady rhythm of the Renaissance forms. It is that rhythm which invites the reader to enter the text and read. The statuesque forms of Romantic letters invite the reader to stand outside and look at the letters instead.² The Moderns need lots of space (white space and inter-line space), so give them extra leading and generous margins; and if you pair a Modern with another face, then make sure it's not a fussy one, or your page will look like a circus poster designed by a visually impaired dog. If you know the beautiful, yet austere architecture of Tadao Ando, then mixing a Didot with, say a Blackletter is akin to draping one of Ando's monoliths in a giant lace doily. Erik Spiekermann, in Stop Stealing Sheep, recommends ITC Bodoni as "much better at small sizes than all the others."³ Modern-day Moderns Open just about any fashion magazine, and you'll spot a Didone. If it's a premium brand (read "very expensive"), then it may well be brought to you on the back of Bodoni or Didot. Not being a subscriber to any fashion titles (you'd understand if you saw my wardrobe), I took a trip to my local café and snapped about 100 examples of Modern types. Here are just a few: And of the many modern interpretations, these are three of my favourites. The beautifully crafted Didot from Jonathan Hoefler, Ambroise from Jean François Porchez (also used to set today's masthead), and Moderno FB, And here are some other notable Moderns: ITC Fenice (I'm not a fan of this one), ITC Zapf Book, Adobe New Caledonia (actually pretty good for extended text), ITC Bodoni*, and Günter Gerhard Lange's Berthold Walbaum (a little wider set than your average Didone).

Romain du Roi, serif, inks, paper, spacing, vertical, contrast, horizontal

TRANSITIONAL Welcome to part three of our Type Terms series. In part one we traveled all the way back to the 15th century to take a closer look at the Humanist or Venetian style types with their distinctive lowercase 'e' (remember that sloping crossbar?). In part two we considered the Old Style or Garalde types and also discovered how this era gave birth to the first italic type in 1501. The 18th century, the start of a period in history that we now refer to as the The Enlightenment, a time that was to sow the seeds of revolution in France, North America and beyond. But today we stand in the cobbled streets of 17th century France; Louis XIV is on the throne and Jacques Jaugeon is working on what is now considered to be the first Transitional (or Neoclassical) style typeface, the _____________ or King's Roman, commissioned by Louis XIV for the Imprimerie Royale in 1692. The Romain du Roi marked a significant departure from the former Old Style types and was much less influenced by handwritten letterforms. Remember, this is the Age of the Enlightenment, marked by resistance to tradition, whether that be art, literature, philosophy, religion, whatever; so it's no surprise that this same era should give birth to radically different types. The Romain du Roi is often referred to as Grandjean's type, but the designs were produced by a committee* set up by the French Academy of Science. One of the committee members, Jacques Jaugeon — at that time better known as a maker of educational board games — in consultation with other members, produced the designs constructed on a 48×48 grid (2,304 squares). The designs — also known as the Paris Scientific Type — were engraved on copper by Louis Simmoneau, and then handed to the punchcutter Grandjean (not to be confused with the earlier Granjon of course), who began cutting the type in 1698. Interestingly, Jaugeon also designed a complimentary sloping roman (often referred to today as an oblique) as an alternative to a true italic**. However, Grandjean himself was to produce the italic from his own designs. The principal graphic novelty in the 'Romain du Roi' is the _______. Its horizontal and unbracketed structure symbolizes a complete break with the humanist calligraphic tradition. Also, the main strokes are thicker and the sub-strokes thinner.... — Letter Forms, page 23, Stanley Morison The first book to use these types wasn't published until a decade later in 1702. In fact the full set of 82 fonts wasn't completed until half a century later in 1745. Baskerville of the Types The Englishman John Baskervile is a fascinating character, and reading about him is like reading the biography of two men in one. Space doesn't permit to list all of his achievements; suffice to say that he always strove to improve upon existing methods and materials, whether that be in his recipes for new ________, or his finer quality glossy _________. [Baskerville] was not an inventor but a perfector....He concentrated on ___________. He achieved amplitude not merely by handsome measurement but by letting in the light.-Type, the Secret History of Letters, Simon Loxley, page 54 (quoting from English Printed Books) "Baskerville has less calligraphic flow than most earlier typefaces"***, and this can be said of just about all the Transitional Style types. Whereas the earlier Humanist and Old Style types owed much to the handwritten letter form, the pen's influence has all but disappeared in the Transitional types. The following is a detail from one of Baskerville's type specimens: During Baskerville's lifetime his types had little influence in his home country. However, In 1758 Baskerville met Benjamin Franklin who returned to the US with some of Baskervilles's type, popularising it through its adoption as one of the standard typefaces employed in federal government publishing. Franklin was a huge fan of Baskerville's work, and in a letter to Baskerville (1760) he enthusiastically defends Baskerville's types, recounting a discussion he had with an English gentleman who claimed that Baskerville's 'ultra-thin' serifs and narrow strokes would blind its readers. Franklin mischievously tore off the top of a Caslon specimen (to remove any mention of Caslon, of course), and showed it to the gentleman, claiming that it was the work of Baskerville. The gentleman examined the specimen, and thinking that it was indeed a Baskerville specimen, started to point out the worst features of 'Baskeville's' type. Another notable character from this period in type history is Pierre Simon Fournier who developed the 'point' system (Fournier Scale), and also designed and cut his own type. William Caslon is yet another notable figure, though his types were based on the Dutch Old Style; however, some modern interpretations of Caslon's types would sit more comfortably in Transitional. Whereas Caslon's letters are thoroughly Baroque, Baskerville's are thoroughly Neoclassical.—A Short History of the Printed Word. Characteristics 1 Vertical or almost _________ stress in the bowls of lowercase letters. (See also A Short History of the Printed Word, Chappell & Bringhurst, pages 160-161): If you read parts one and two, you may well have noticed a trend here: with the stress, like the minute-hand moving from the humanist axis to rationalist axis at 12 o'clock. (Tip: if you're trying to approximate the angle of stress, pick the lowercase 'o' and draw a line through the two thinnest sections [the actual stress is the fattest parts of the stroke]). (Humanist (Jenson) about 11 stress, Old Style (Bembo) about 11.5 stress, Transitional (Baskerville) about 12 stress) 2 greater ________ between thick and thin (sub-) strokes: 3 Head serifs generally more ____________: It's worth noting that the above characteristics are guides only. Modern-day revivals of these types vary in their 'authenticity'. Examples Baskerville (many flavours), Bookman (Linotype), Cheltenham (ITC), Clearface (ITC), Fournier, Joanna, Slimbach (ITC) And in a brief Back to the Future moment, here's Baskerville in the 21st century, seen here in the retailer Habitat's logo (set in Fry's Baskerville):

block printings, block books

The first known European _______ _________ with a communication function were devotional prints of prints (5.3 and 5.4). 1) sizes ranged 3) many were hand-colored and because of their basic linear style, they served as less expensive alternatives for printing images and lettering were cut from same block of wood. These early prints evolved into ________ ____________(5.5 and 5.6) which were woodcut picture books with religious subject matter and brief text. Many 1) each page: cut from a block of wood and printed as complete word and picture unit. 2) Few surviving copies in Netherlands (after 1460), not known if block book preceded the typographic book.

Incunabula, Blackletter, roman types, greater, sharper, wedge, perpendicular, horizontal, condensed

The term Humanist is part of the nomenclature that describes type classification. During the 1800s a system of classifying type was derived, and although numerous other systems and subsets of this system exist, this basically is it: Humanist | Old Style | Transitional | Modern Slab Serif (Egyptian) | Sans Serif [____________] can refer to the earliest stages in the development of anything, but it has come to stand particularly for those books printed in Europe before 1500. — A Short History of the Printed Word The model for the first movable types was ___________ (also know as Block, Gothic, Fraktur or Old English), a heavy, dark, at times almost illegible — to modern eyes — script that was common during the Middle Ages. Thankfully, types based on blackletter were soon superseded by something a little easier to read—enter Humanist. The Humanist types (sometimes referred to as Venetian) appeared during the 1460s and 1470s, and were modelled not on the dark gothic scripts like textura, but on the lighter, more open forms of the Italian humanist writers. The Humanist types were at the same time the first __________ _________. Characteristics So what makes Humanist, Humanist? What distinguishes it from other styles? What are its main characteristics? 1 Sloping cross-bar on the lowercase "e"; 2 Relatively small x-height; 3 Low contrast between "thick" and "thin" strokes (basically that means that there is little variation in the stroke width); 4 Dark colour (not a reference to colour in the traditional sense, but the overall lightness or darkness of the page). To get a better impression of a page's colour look at it through half-closed eyes. Examples And here are some examples of Humanist faces: Jenson, Kennerley, Centaur, Stempel Schneidler, Verona, Lutetia, Jersey, Lynton. (Centaur a Humanist-inspired type designed by Bruce Rogers and based on Nicholas Jenson's roman type. OLD STYLE Humanist types, we discovered, have strong roots in calligraphy. Old style types, although they owe much to the same roots, show a marked departure from simply mimicking the handwriting of earlier Italian scholars and scribes. It's from this period, that we can really see type getting into gear. It's certainly one of the most exciting periods in type history. Old Style traits The Old Style (or Garalde) types start to demonstrate a greater refinement—to a large extent augmented by the steadily improving skills of punchcutters. As a consequence the Old Style types are characterised by __________ contrast between thick and thin strokes, and are generally speaking, __________ in appearance, more refined. You can see this, perhaps most notably in the serifs: in Old Style types the serifs on the ascenders are more __________ shaped (figure1.1). Another major change can be seen in the stress of the letterforms (figure 1.2) to a more _____________ (upright) position. You may remember our old friend, the lowercase e of the Humanist (Venetian) types, with its distinctive oblique (sloping) crossbar; with Old Style types we witness the quite sudden adoption of a _________ crossbar (figure 1.3). I spent quite a time trying to discover why the lowercase e should change so dramatically. After searching high and low, and opening just about every type book I own, I decided to post the question on Typophile. Space doesn't permit to recount the entire tale here, but for those interested in such details, then head on over to the Typophile e crossbar thread. (Thanks to Nick Shinn, David et. al. for their valuable input). The First Italic Type And, as we're on the topic of dramatic changes, during this period we see the very first italic type in 1501. They were first created, not as an accompaniment to the roman, but as a standalone typeface designed for small format or pocket books, where space demanded a more _________ type. The first italic type, then, was conceived as a text face. Griffo's contribution to roman type include an improved balance between capitals and lowercase, achieved by cutting the capitals slightly shorter than ascending letters such as b and d, and by slightly reducing the stroke weight of the capitals. —A Short History of the Printed Word, Chappell and Bringhurst, page 92 The Old Style types can be further divided into four categories as in the figure below, and span the roman types from Francesco Griffo to William Caslon I. Unlike the relatively short-lived Humanist faces, the Old Style faces held sway for more than two centuries; a number of them are still popular text faces today. Old Style faces And here are some more Old Style faces: Berling, Calisto, Goudy Old Style, Granjon, Janson, Palatino, Perpetua, Plantin, Sabon and Weiss, to name but a few.

Typography

_______- is the term for printing with independent, movable, and reusable bits of metal or wood, each of which has a raised letter form on one face. First movable type was invented in China (Sung dynasty), used lazy susan and characters were made from wood and first metal type system was made in Korea. 1st printings in Europe were textile designs and playing cards. The invention of typography ranks near the creation of writing as one of the most important advances in civilization. Writing gave humanity a means of storing, retrieving, and documenting knowledge and information that transcended time and place; typographic printing allowed the economical and multiple production of alphabet communication. Knowledge spread rapidly, and literacy increased as a result of this remarkable invention. Several factors created a climate in Europe that made typography feasible. The demand for books had become insatiable. The emerging literate middle class and students in the rapidly expanding universities had ended the clergy's monopoly on literacy, creating a vast new market for reading material. However, the slow and expensive process of bookmaking had changed little in one thousand years. A simple two-hundred page book required four or five months' labor by a scribe, and the twenty-five sheepskins needed for the parchment were even more expensive than his labor. In 1424, only 122 manuscript books resided in the university library at Cambridge, England, and the library of a wealthy nobleman whose books were his most prized and sought-after possessions probably numbered fewer than two dozen volumes. The value of a book was equal to the value of a farm or a vineyard. The steady growth of demand had led independent merchants to develop an assembly-line division of labor, with specialists trained in lettering, decorative initialing, gold ornamentation, proofreading, and binding. Even this exploding production of manuscript books was unable to meet the demand. Without paper, the speed and efficiency of printing would have been useless. Papermaking had completed its long, slow journey from China to Europe, so a plentiful substrate was available. Over six hundred years passed before papermaking, which spread westward along caravan routes from the Pacific Ocean to the Mediterranean Sea, reached the Arab world.

Punch

______- Characters engraved into the top of a steel bar a metal bar with a letter at the end of it.

textura, ligatures, punch, matrix

Typography did not grow directly out of block printing because wood was too fragile. Block printing remained popular among Chinese because alignment between characters was not critical and sorting thousands of basic characters was untenable. In west, the need for exact alignment and modest alphabet system (2 dozen letters) made printing text material from independent, movable, and reusable type highly desirable. Steps necessary in creating of typographical printing: 1) a style of letter had to be selected. Gutenberg choice was the square, compact ________ lettering style used commonly by German scribes. 2) Early printers sought to compete with calligraphers by imitating their work as closely as possible. This typeface without subtle curves was so well developed that characters in the Forty-two-line Bible are hardly distinguishable from good calligraphy. 3) Each character in the font- small and capital letters, numbers, punctuation, __________- had to be engraved into top of a steel bar to make a ________. This punch was driven into _________ of softer copper of brass to make a negative impression of the letterform. The key to Gutenberg's invention was the type mold used for casting the individual letters. 1) each letter: had to be plane parallel in every direction and exact same height. 2) Gutenberg's 2-part mold, which adjusted to accept matrixes or narrow letters (I) as well as wide ones (M) permitted large volumes of type to be cast with critical tolerances. 2) type required metal that was soft enough to cast but hard enough to hold up for thousands of impressions and did not expand and contract when melted, poured into type mold, then returned to a solid state as it cooled. Gutenberg knew silvery white metal antimony expands when it cools from liquid to solid state, which contrasts with most metals which contracts when cooled. 3) Used 80% lead, 5% tin, 15% antimony to maintain constant mass throughout process of manufacturing type. 4) He needed 50,000 single pieces of type in use at a time, so speed, accuracy, economy achieved by this type mold and its casting process were critical. 5) type was stored in compartmentalized cases and pulled out letter by letter to set the lines. After printing type was returned to compartments letter by letter

Xylography, Typography, watermark

Printing comes to Europe _______: is the technical term for relief printing from a raised surface that originated in Asia. _______: is the term for printing with independent, movable, and reusable bits of metal or wood, each of which has a raised letter form on one face. This dry definition belies the immense potential for human dialogue and the new horizons for graphic design that were unleashed by this extraordinary innovation in the mid-1400s by a German inventor (name and portrait is lost). The invention of typography is one of the most important advances in civilization. Writing gave humanity a means of storing, retrieving, and documenting knowledge and information that transcended time and place; typographic printing allowed economical and multiple production of alphabet communication. Knowledge spread rapidly and literacy increased as a result of this invention. Several factors created climate in Europe that made typography feasible 1) demand for books: literate middle class and students in expanding universities had ended clergy's monopoly on literacy, creating vast new market for reading material. (books still took a long time to make and parchment was more expensive than the labor) 2) 1424, only 122 manuscript books resided in university at Cambridge and the library of a nobleman possessed fewer than 2 dozen volumes. These books value equal to the value of a farm or vineyard. The steady growth in demand had led independent merchants to develop an assembly-line division of labor, with specialists trained in lettering, decorating initialing, gold ornamentation, proofreading, and binding, However, this production of manuscript books still could not meet demands. 3) Without paper, speed and efficiency of printing would have been useless. Paper making came to Europe from China. Took over 6 hundred years before papermaking which spread westward along caravan routes from Pacific Ocean to Mediterranean Sea, reached Arab world. Arab occupation forces in 751, after repealing Chinese attack on city of Samarkand was able to capture Chinese papermakers. Samarkand, plenty of water and crops of flax and hemp, became papermaking center and spread craft to Baghdad, Damascus, and Egypt. From Egypt spread to North Africa, Sicily (1102), and Spain (mid 12th c.). 1276 a paper mill established in Fabriano, Italy and 1348 Troyes, France. _________: a translucent emblem produced by pressure from a raised design on the mold and visible when the sheet of paper is held to the light, was used in Italy by 1282. Origin of design device is unknown. Trademarks for papermills, individual craftmen, and religious symbolism were early uses. As successful marks were imitated, they began to be used as a designation for sheet and mold sizes and paper grade. Motifs: mermaids, unicorns, animals, flowers, heraldic shields

bloody conflict

1466 Fust died, Schoeffer and his associate, Conrad Henkis (married Fust's widow) continued successful printing business, producing broadsheets, books, and pamphlets. Meanwhile Johann Gutenberg was running a heartbeat ahead of his time, drifted into bankruptcy and defaulted on interest payments for a loan. However, he perfected his craft and completed his research. Financial support from Dr. Conrad Homery allowed Gutenberg to estbalush a new printing shop. Scholars view him as the printer of the 36 line Bible and late 1450s reprint of the 42 line Bible with similar but less refined type. Gutenberg's "Catholicon": Encyclopedia dictionary was published with a colophon stating that the work was published "with the protection of Almighty, at whose will the tongues of infants became eloquent and who often revels to the lowly what he hides from the wise." 1465 Archbishop Adolf of Mainz appointed Gutenberg with rank of nobleman. Gutenberg died 1468. Gutenberg's possession "forms, letters, instruments, tools, and things pertaining to work of printing" given to Dr. Homery. After few years, printing was centered in Mainz, as Fust and Schoffer, Gutenberg, and former apprentices established their own firms. Swift spread of printing was hastened by ________ ________. German nobles were involved in power struggles that erupted into full scale war and Adolf of Nassau's army descended on Mainz and sacked the town bring trade and commerce to a halt. Warning allowed merchants and craftsmen to load everything possible on wagons and carts and flee. Younger printers and apprentices did not return and press were established far away as France and Italy

Ars moriendi, Biblia Pauperum, block print

Block book was used for religious instruction of illiterates. 1) simplify illustration style 2) visual elements dominant as in comic books Declined in 15th c because literacy increased 1) common subject: Apocalypse, a forewarning of final doom and destruction of the world _____ ________ (manuals on "art of dying"): advised one on preparation and meeting of the final hour. The bubonic plague (Black Death) claimed 1/4th of Europe's inhabitants during 14th c. and caused thousands of villages to vanish or be critically depopulated; death was an ever-present preoccupation. In "Ars moriendi": 1) 11 illustrations depict the temptation of the devil and comfort of the angel on subject such as faith, impatience, vainglory, and final hour of death. 2) 13 pages: block-print text. While the purposes was to help people meet death, it also must be considered an early example of printed propaganda for it urges dying to put aside the desire to provide for one's family and to will one's estate to the church. _______ _______ (Bible of the Poor): was a compendium of events in the life of Christ, including a depiction of the crucifixion (5.8). pocket book story of Christ for illiterate woodcut illustrations washes applied with stencils Most ________ _________- contained 30 to 50 leaves. 1) some prints were hand-colored 2) stencils were sometimes used to apply areas of color to textile, playing cards, and later block-book woodcuts 3) for some 15th c. prints, woodblocks were used to print paste or gum sprinkled with tinsel (minute sparking fragments of metal), incrustation (minute quartz crystals with color) , and flocking (powdered wool). These medias were used as design elements to bring vibrate tactile quality and luminosity to the image 4) Earliest block books were printed with hand rubber in brown or gray ink. Later versions printed in black ink on printing press. Earliest books are printed on only 1 side due to hand rubber created too much indentation to allow double-side printing. Each double page spread was followed by 2 blank pages which were usually pasted together to preserve visual flow of images and text. 5) while monastic designer might cut his own woodblock, in secular world the distinction between designer and cutter (Formschneider) was upheld by trade guide. Cutters worked from the designer's ink layout on either paper or woodblock, were often members of carpentry guilds

textiles, Card playing, illiterate,

Early European block printing Origins of woodblock printing in Europe are a mystery. After crusades opened Europe to Eastern influence, relief printing arrived on heels of paper. Playing cards and religious-image prints were early manifestations. Circumstantial evidence implies that relief printing from woodblocks also spread westward from China. 1300s pictorial designs were being printed on _______ in Europe. _______ ________ was popular and in spite of stimulated a thriving and denounced by zealous clergy, this pastime stimulated a thriving underground block-printing industry (before 1400s). 1415 Duke of Milan played cards with ivory slates bearing images painted by famous artists and Flemish nobles used engraved silver plates. Throughout Europe working class gathered in taverns and by roadsides to play with grimy cards that were blocked printed or stenciled in coarse paper (5.2). Playing cards: 1) 1st printed piece to move into ________ culture, making them earliest European manifestation of printing's democratizing ability: game of kings became the game of peasants and craftsmen. 2) because cards introduced the masses to symbol recognition, sequencing, and logical deduction their intrinsic value transcended idle entertainment

Copperplate engraving

__________- a drawing is scratched into a smooth metal plate. Ink is applied into the depressions, the flat surface is wiped clean, and paper is pressed against the plate to receive the ink image. 1) copy drawing, and flip over to be opposite on plate 2) melt wax onto plate and spread it out. The wax will take the impression of the drawing which you trace over on the plate 3) scratch using steel tool by following lines on the wax. Gives you a pale outline which you can follow during engraving process. 4) then engrave by adding crosshatching 5) Now ink the plate and then take off excess ink 6) wipe off ink off surface of the plate 7) wet paper and place over copperplate and run through press (playing cards and religious images were the vast majority of printed production)

wine

Medieval block prints used thin, watery ink made from oak galls. 1) ink worded fine on woodblock because wood could absorb excess moisture, but it would run off or puddle on metal type Gutenberg used boiled linseed oil colored with lampblack, producing thick, tacky ink that could be smoothly applied Inking type: 1) dollop of ink was placed on flat surface and smeared with soft leather ball (coating the ball's bottom). 2) ball was daubed onto type for even coating of ink Strong, sturdy press capable of sufficient force to pressure ink from type into paper was needed. Gutenberg adapted designs for presses (based on large screw lowering and raising plate) used in making _______, cheese, and baling paper. Gutenberg's press and system: 1) used for 400 years with moderate improvements 2) precision machine allowed tremendous printing speed and consistent quality 3) later improvements: frisket to protect margins and unprinted areas, modification of screw to lessen energy needed to print, and quick-release feature so less energy needed to lift plate than to lower it.Eventually mechanical linkage replaced screw.

Johann Gensfleisch zum Gutenberg, Forty-two Line Bible

Movable typography in Europe: With availability of paper, relief printing from woodblock, and growing demand for books, the mechanization of book production by means like movable type was sought after by printers in Germany, Netherlands, France, Italy. Avignon, Italy: goldsmith Procopius Waldfoghel was involved in production of "alphabets of steal" (no known results). Laurens Janszoon Coster of Haarlem explored the concept of movable type by cutting out letters or words from his woodblocks for reuse. __________ ______________ ______ _______________: 1st brought together the complex systems and subsystems necessary to print a typographic book around 1450. Background: 1) apprenticed as goldsmith, developed metalworking and engraving skills necessary for making type 2) September 1428 exiled for Mainz for his leadership role in power struggle between landed nobleman and burghers of the trade guilds who sought a greater political voice. 3) relocated in Strasbourg and became successful and prosperous gem cutter and metal worker 4) 1438 He formed a contractual partnership with Andreas Dritzehen and Andreas Hellmann. He taught them the secret process for making mirrors to sell at Aachen pilgrimage fair. Mirrors: rare and difficult to manufacture. Molten lead pourer over glass, forming reflective surface when cooled was difficult to prevent the glass from cracking from the heat. After fair was postponed, He entered a new 5 year contract to teach his partners another secret process. When Dritzehen died his brothers sued Gutenberg, but lost. This record of trail shows that Gutenberg was involved in printing. 1) Witness mention that the partners owned a press, wood-turner Conrad Saspach testified that he had constructed the press. 2) Testimony mentions type, a stock of lead and other metals, and mysterious four-piece instrument secured by double hand screws (type of mold). Hans Dunne testified that he had sold Dutenberg 100 guilders' worth of materials "solely for that which belonged to printing." 3) Gutenberg moved back to Mainz and resolved technical, organizational, and production problems that had plagued earlier typographic printing efforts. Labored for 10years until his 1st printing and 20 years before printing the first typographic book, called the _________________

pen

OLD STYLE Have characteristics of letters written in _____, but inspired by what they could do with metal. Letters became crisper and more refined. William Caslon : influenced by Dutch type design (His font came with italic version) Characteristics: 1) stress is a little less angled, but bowls look pen formed 2) The "o" has a more vertical stress when compared to other letter's bowls 3) the aperture on "e" is smaller than one a venetian font because the cross bar is horizontal 4) The aperture on the "e" remains fairly open partially because the closed counter (enclosed by a letter form or a symbol) on the "e" is small. 5) small enclosed counters on "e" and "a" 6) have pen form terminals 7) head serifs look pen formed, head serifs have a wedge shape. Both head and foot serifs flow into the stem 8) thin strokes are thinner, but most old style have a thicker thin stroke than in Caslon's fonts 9) early fonts did not have italic or bold version, Old style had italic but not a bold weight 10) angled spurs crimson text: 1) angled stress 2) serifs flow into stem

Romain du Roi

TRANSITIONAL 1690s- late 1700s transitional from Old Style to Modern fonts a defining period in type design Enlightenment= scientific thought over superstition Started with ___________, made by a committee who favored mathematical principles= letters were mapped out a grid before being cut in metal 1) increased emphasis on verticality 2) increase contrast of thick and thin 3) stem is straight up and down 4) serifs (head (not wedge shaped) and foot) are thinner and crisper and curve were it flows into the stem is tighter 5) terminals are more stylized, shaped like tear drops 6) stress is almost vertical 7) in "d" the bowl connects to the stem with thin strokes and the weight of the bowl is along the outside edge

Block print

_______- Woodcut picture books with religious subject matter and brief text. 1st European block prints were devotional prints for communication purposes were images saints (5.3 - linear style and hand printed, one of earliest European block prints) (5.4, annunciation, the text in picture is similar to speech ballon) Early prints of patron saints was educational (for illiterate) and much like present day comic books and eventually evolved into block books. (5.5) justify virgin Mary's conception (Print made from wood, linoleum, vinyl, etc., printed in relief) -drawn in simplified illustration with the visual elements dominant as in contemporary comic books -1st images of block printing were devotional to saints 1) colors were applied with stenciles 2) design was cut into a block of wood Process: 1) design is transferred from a sheet of paper onto the woodblock 2) Chalk is applied to back of the drawing and placed onto the woodblock 3) lines were traced with styles to transfer the chalk onto the block 4) chalk lines were fixed with ink 5) gouges and knives are used to cut away the wood on either side of the drawn lines 6) when finished image will appear as network of raised lines 7) sticky ink is prepared on flat smooth surface 8) leather pounce is use to transfer the thinly spread ink to raised parts of the woodblock 9) ink is transferred onto paper under pressure using a press 10) image carved onto woodblock is reversed when it is printed onto the paper 11) paper is put aside so ink can dry before colors are added 12) stencils are used for applying color to image 13) each sheet would be stiffened before being cut into individual cards to be sold in packs Was a time consuming process. Jack of Diamonds, woodblock playing card, c. 1400. Visual signs to designate the suits began as the four classes of medieval society. Hearts signified the clergy; spades (derived from the Italian spada [sword]) stood for the nobility; the leaflike club represented the peasantry; and diamonds denoted the burghers. The games of kings could now become the games of peasants and craftsmen. Because these cards introduced the masses to symbol recognition, sequencing, and logical deduction, their intrinsic value transcended idle entertainment. The origins of woodblock printing in Europe are shrouded in mystery. After the Crusades opened Europe to Eastern influence, relief printing arrived on the heels of paper. Playing cards and religious-image prints were early manifestations. Circumstantial evidence implies that, like paper, relief printing from woodblocks also spread westward from China. Woodblock print of Saint Christopher, 1423. The first known European block printings with a communications function were devotional prints of saints (Figs. 5-3 and 5-4), ranging from small images fitting in a person's hand to larger images of 25 by 35 centimeters (10 by 14 inches). The unknown illustrator depicted the legendary saint, a giant who carried travelers safely across a river, bearing the infant Christ. The inscription below reads: "In whatsoever day thou seest the likeness of St. Christopher/in that same day thou wilt at least from death no evil blow incur/1423." One of the earliest dated European block prints, this image effectively uses changing contour-line width to show form. Woodblock print of the Annunciation, undated The scroll, with a Latin inscription, serves the same communicative function as a "talk balloon." (The upper left corner of this print is missing.) These early prints evolved into block books (Figs. 5-5 and 5-6), which were woodcut picture books with religious subject matter and brief text. Each page was cut from a block of wood and printed as a complete word and picture unit. Drawn in a simplified illustration style, with the visual elements dominant as in contemporary comic books, the block book was used for religious instruction of illiterates. This form gradually declined during the fifteenth century as literacy increased. Common subjects included the Apocalypse, a forewarning of the final doom and destruction of the world. This page attempts to justify the Immaculate Conception by a series of "logical" parallels: If the light of Venus's temple cannot be extinguished, if the moon is reflected in water, if a person can be changed into stone, and if man can be painted on stone, why should not the Blessed Virgin be able to generate?

Ligature

_______- a character consisting of two or more joined letters, e.g., æ, fl. (a stroke that joins adjacent letters in writing or printing.) Connects pieces of the type mold

Matrix

________- a punch was hammered/pushed into brass or soft copper to form a negative impression of the letter called a _______, acted as mold for the type which casted in lead. Gutenberg made a hand casting instruments. The matrix was inserted into a rectangle channel and molten lead was poured into it through another channel. Was reusable so a unlimited number of characters could be casted. Mold letter fits into

Block book

________- Made literacy and knowledge widely available. (woodcut picture book with religious subject matter and brief text. Each page was cut from a block of wood and printed as a complete word and picture unit) 1) Parchment maker 2) Paper Maker 3) Type Founder 4) One printer is shown removing a newly printed sheet from the press while the other one inks the type. In the background, compositors are shown setting type at type cases. 5) The designer is illustrated as he draws an image in preparation for a woodcut or copper engraving. (This is probably Amman's self-portrait.) 6) The woodblock cutter carefully cuts the drawing or design into a block of wood. 7) The illuminator, who originally applied gold leaf and color to manuscripts, continued his craft on the typographically printed page. 8) One bookbinder collates the pages of a volume by hand. The other prepares a book for it's cover.

Ars moriendi

________- (popular) manuals on the art of dying. It advised people on how to meet the final hour. It advised to giving earthy goods to the church. Implied rectangle of copy next to image with generous margins all around. Printed from a block of wood (block book). Black plague killed 1/4 population. As block books gained availability and affordability increased literacy of the population. Common subject at the time included the Apocalypse like "The Four Horsemen of the Apocalypse"by Durer forewarning of doom and destruction of the world Pages from an ars moriendi, 1466. Ars moriendi (manuals on the "art of dying") advised one on the preparation and meeting of the final hour. Europe's population was decimated by the great cycles of bubonic plague, called the Black Death, which claimed one-fourth of the continent's inhabitants during the fourteenth century and caused a thousand villages either to vanish totally or to be critically depopulated; death was an ever-present preoccupation. A montage juxtaposes the deathbed scene with the subject's estate. One demon urges, "Provide for your friends," while the other advises, "Attend to your treasures." The densely textured text page recommends donating one's earthly goods to the Church. Drawn in a simplified illustration style, with the visual elements dominant as in contemporary comic books, the block book was used for religious instruction of illiterates. (Latin for "the art of dying." This art is thought to be acquired by the practice of right living) Manuals on the "art of dying" -advised one on the preparation and meeting of the final hour -focus on church rather than family when approaching death

Forty-two Line Bible

________- First major book printed with movable type in the West. Marked the start of the Gutenberg revolution and the age of the printed book in the west. Iconic status: high aesthetic and artistic qualities. Written in latin (1450s). Few surviving copies and not Gutenberg first work. 1272 pages, bound in two volumes, copies originally left workshop unbound and no decoration (no rubrication) First typographic book -printed by Gutenberg -textura type 1) text printed on textura type based on hand writing of the day 2) illuminators added colored initials and drawings A heroic effort was required to produce this first typographic book by Johann Gutenberg, which is also one of the finest examples of the printer's art. Gutenberg made the obvious choice of the square, compact Textura lettering style commonly used by German scribes of his day. Early printers sought to compete with calligraphers by imitating their work as closely as possible. This typeface without subtle curves was so well developed that the characters in the forty-two-line Bible are hardly distinguishable from good calligraphy. An illuminator added the red headers and text, initials, and floral marginal decoration by hand. The hand Rubrication, which is the application of red-ink initials and titles by a scribe, was completed on 24 August 1456

Xylography

________- The technical term for the relief printing from a raised surface that originated in Asia Printed from a block of wood Early prints were on woodblock prints was relief printings (also called Xylography).

Rubrication

________- the application of red-ink initials and titles by a scribe (red ink, red letters were used to highlight initial capitals (particularly Psalms), section headings, names of religious significance) the headings of each book of the bible and initials were printed on the press (red then black), but was abandoned. Gaps were left for Rubrication to be done by hand later (spacious margins allowed Rubrication to be added by hand later). -the amount would depended on how much the person was willing to pay for it. Application of red ink initials and titles by a scribe, on completed copy of the forty-two-lined bible

Textura

_________- Gutenberg bible was printed in blackletter type still called _________. Texture refers to texture of the printed page. Straight vertical strokes and thin horizontal lines. Gutenberg used technique called justification for his typography. Created vertical alignment at the left and right side of the column. To do this he used various methods: 1) characters of narrow widths 2) adding extra spaces around puncations 3) varying spaces around words an early, ornate, bold style of type, typically resembling Gothic.

Watermark

_________- (5.1) a translucent emblem produced by pressure from a raised design on the mold and visible when the sheet of paper is held to the light, was used in Italy by 1282. French watermark designs, fifteenth century. The watermark (Fig. 5-1), a translucent emblem produced by pressure from a raised design on the mold and visible when the sheet of paper is held to the light, was used in Italy by 1282. The origin of this design device is unknown. Trademarks for paper mills, individual craftsmen, and perhaps religious symbolism were early uses. Made by bending a piece of wire and attaching it to the mold that was used to make the paper. Need to hold it up to light to see an image (trademark for company that produced the paper). Mermaids, animals, flowers, shields common motifs (A pale or semitransparent graphics object positioned behind text in a document.) Translucent emblem produced by pressure from a raised design on the mold and visible when the sheet of paper is held to light -used as trademarks for businesses/artists/businessmen -frequent designs: mermaids, flowers, unicorns, animals

Colophon

_________- a brief description of the publication or production notes that were relevant to the edition. (Psalter in Latin by Fust and Schoeffer): The first book to bear a printer's trademark and imprint, printed date of publication. "....has been fashioned thus by an ingenious invention of printing and stamping without use of a pen..." Detailed listing of technical printing info (at end of the book) & staff listing

Biblia Pauperum

__________- bible of the poor Comic book like approach, teaching the gospels like a comic book. Image 5.9, Ars Memorandi per Figuras Evangelistarum: images are gone over with a watercolor wash. A Biblia Pauperum (Bible of the Poor) was a compendium of events in the life of Christ, including a depiction of the crucifixion (Fig. 5-8). demonstrate the graphic power of hand-painting fluid washes of watercolor to enliven a woodcut's symbolic imagery.Most block books contained from thirty to fifty leaves. Some prints were hand-colored. Stencils were sometimes used to apply flat areas of color to textile, playing card, and later block-book woodcuts. and text. While the monastic designer might also cut his own woodblock, in the secular world the distinction between designer and cutter was vigorously upheld by trade guilds. -compendium of the events in the life of Christ

Fust and Schoeffer

__________- created a printing dynasty that last 100 years. Gutenberg borrowed money (800 guilders two times) from Fust and pledged his printing equipment as security. After first copies were ready Fust demanded his money back and sued Gutenberg who lost all his equipment and printed copies. Fust takes over business and employs Schoeffer (the 1st typeface designer) and publishes the books. (5.16 and 5.17) Psalter in Latin Big book Unusual for its time because the rubricates were printed. Done from a from large red and blue initials printed from a two part metal blocks. Inked separately then reassembled and printed with the text and printed as one big text impression. Or may have been stamped after text was printed by hand. Mimic manuscript look. First book to bare a printers trademark, date of publication, and a colophon. Rational of Holy Duties: small book on religious ceremony. Reduced the size of the type to get more letters on a page (more economical to print). Printed initials In 1455 as Gutenberg was about to finish the Bible, his business partner, Johann Fust foreclosed on a loan and took possession of the Bibles and all printing equipment that Gutenberg had invented. On the eve of completion of the immensely valuable forty-two-line Bible, which would have enabled him to pay all debts, Gutenberg was locked out of his printing shop. With Fust as business manager and Peter Schoeffer- Gutenberg's assistant and foreman - in charge of printing, the firm of Fust and Schoeffer became the most important printing firm in the world, establishing a hundred-year family dynasty of printers, publishers, and booksellers. Fust and Schoeffer, page detail 5-14 from Psalter in Latin, 1457. The red and blue initials are the earliest example of color printing in Europe. Fust and Schoeffer, colophon and trademark from a Psalter in Latin, 1457. The large red and blue initials were printed from two-part metal blocks that were either inked separately, reassembled, and printed with the text in one press impression, or stamped after the text was printed. The Psalter in Latin was also the first book to bear a printer's trademark and imprint, printed date of publication, and colophon (Fig. 5-17). A translation of the colophon reads: "This book of the Psalms, decorated with beautiful capitals, and with an abundance of rubrics, has been fashioned thus by an ingenious invention of printing and stamping without use of a pen. And to the worship of God it has been diligently brought to completion by Johann Fust, a citizen of Mainz, and Peter Schoeffer of Gernsheim, in the year of Our Lord 1457, on the eve of the Feast of the Assumption."

Master of the Playing Cards, (Fig. 5-17)

__________- unidentified artist who created the earliest known copperplate engravings. 106 engravings, include playing cards (5.19) typical suits for playing cards of the period: flowers, birds, deer, wild men, birds of prey Each symbol is different so the difficulty of engraving is far greater than modern set. There are no numbers. Master of the Playing Cards During the same time and in the same section of Europe that Johann Gutenberg invented movable type, an unidentified artist called the Master of the Playing Cards created the earliest known copperplate engravings Engraving is printing from an image that is incised or cut down into the printing surface. To produce a copperplate engraving, a drawing is scratched into a smooth metal plate. Ink is applied into the depressions, the flat surface is wiped clean, and paper is pressed against the plate to receive the ink image. The finest work of the Master of the Playing Cards is a set of playing cards using birds, animals, and wild men as images. Copperplate Engraving is an Intaglio method of Printmaking where the surface that is printed is etched or engraved below the surface, exactly the opposite of woodcut, which is a relief form of printmaking where the surface to be printed is raised above the surface. Engraving allows much more detail than woodcuts and engravings hold up longer before breaking down over long press runs.

Letters of indulgence,

___________- (5.12 print and 5.13 handwritten) One of the earliest specimen of a Gutenberg printed piece that mimics calligraphic style Pope Nicholas issued pardon for all Christians who help fund the war against the Turks. indulgences had been awarded by the Catholic church for remission of sin earned by prayer or donation of money. Gutenberg commissioned to print thousands of these. Made as ready made receipts with a blank for names to be filled in. 31 lines Johann Gutenberg, thirty-one- line letters of indulgence, c. 1454. Handwritten letter of indulgence, 1444. Gottfried, Bishop of Würzburg, grants an indulgence for donations to the monastery of Amorbach. Pope Nicholas V issued this pardon of sins to all Christians who had given money to support the war against the Turks. Apparently the agents selling manuscript copies early in 1454 learned of Gutenberg's work and realized the value of printing this letter in quantity. Seven editions in two styles were ordered during 1454 and 1455 and numbered in the thousands. As evidenced by a manuscript copy of 1444, Gutenberg made every effort to imitate the calligraphic style Johann Gutenberg, thirty-one-line letters of indulgence, c. 1454. The written additions in this copy indicate that on the last day of December 1454, one Judocus Ott von Apspach was pardoned of his sins.

Johann Gensfleisch zum Gutenberg

___________- first to invent the metal movable type printing system, printing press. Was a goldsmith (cutting punches) and developed hardware and technique for casting letters from matrix using devices known as the hand mold. His first printed works were official documents, paper decrees and grammers. 1) take narrow steel punch and hammer a indentation to the soft, flat matrix made out of brass. 2) then slide it into a type mold and hold it into place while the poured molten lead to cast a piece of type 3) He needed 50,000 single pieces of type to use at a single time 4) type stored in compartmentalized wooden cases Often type was printed with wood block illustrations (5.11) image of printing process (Characters in the font had to be engraved into the top of a steel bar to make a punch. This punch was driven into a matrix of softer copper or brass to make negative impression of the letterform) This technique made it possible to duplicate books at low cost. First brought together the complex systems and subsystems necessary to print a typographic book known as the forty-two-lined bible -selected square, compact textura

Fust & Shoeffer's Psalter in Latin, colophon

________________________ : (earliest example of color printing in Europe) 5.16 and 5.17 1) large red and blue initials were printed from 2 part metal blocks that were either inked separately, reassembled, and printed with text in one press impression , or stamped after the text was printed. 2) decorative 2 color initials were major innovation 3) was the first book to bear a printer's trademark and imprint, printed date of publication, and ________. Colophon reads: "The book of the Psalms, decorated with beautiful capitals and with an abundance of rubrics has been fashioned thus by an ingenious invention of printing and stamping without use of a pen. And to the worship of God it has been diligently brought to completion by Johann Fust, a citizen of Mainz, and Peter Schoeffer of Gernsheim, in the year of Our Lord 1457, on the eve of the Feast of the Assumption." "Rationale Divinorum Officiorum" (Rationale of Holy Duties) Innovation appeared in Fust and Schoeffer's 1459 edition of this book (5.18). Book explains religious ceremonies was the first typographic book that employed a small sized type style to conserve space and increase the amount of text on each page. This achieved significant economy in presswork, ink, parchment. "Latin Bible" and "De officiss" (On Duty) was first printing of classic form antiquity. Typographic printing spurred interest in ancient Greek and Roman culture Knowledge from ancient world and medieval era spread through printed world, and fusion became a catalyst for creating of modern world.