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Type and Typography
Typography concerns the design, arrangement, placement, and usage of machine-printed type. Although the notion of mechanical printing predates Johann Gutenberg, the father of modern printing, by at least six centuries, essentially, the history of typography begins with the German goldsmith’s invention of the letterpress around 1450. Gutenberg’s invention was so well conceived that it remained the principal method of printing for more than 400 years. Gutenberg’s process for printing from movable type brought together four skills: calligraphy, chemistry, metallurgy, and engraving. The key to the system was metal type.
Gutenberg used steel punches and brass molds to cast individual letters from an alloy of lead, tin, and antimony. Each character was cast hundreds of times as a separate block, and then the thousands of individual letters were assembled into pages. After printing, the pages could be disassembled and the type cleaned and reused. Type was stored in compartmentalized storage cases—capital letters in an uppercase and small letters in a lowercase (thus the terms we still use today)—and pulled out letter by letter to set the lines. The German inventor also had to develop a method of holding the type in place for printing, a slow-drying ink sticky enough to adhere evenly to the metal type, and a press capable of forcing the paper down onto the type for an even impression. Gutenberg modeled his printing press after the wine and cheese presses in use at the time and formulated a linseed oil–based ink, using lead and copper compounds for pigment.
The 42-Line Bible
Bringing all the elements together, Gutenberg began working on the first typographic book, a two-volume, folio-sized (11.75 × 15 inches) Latin Bible. The pages were printed in two columns; the first nine pages had 40 lines per column, the 10th page had 41, and the remaining 1,270-plus pages had 42 lines per column. He may have used this layout for the manuscript, or he may have started a 40-line Bible and increased the number of lines per column to save time and paper. Forty-eight copies of this landmark publication, out of an estimated press run of about 200, are known still to exist (one is always on display at the Library of Congress, for example). Gutenberg’s 42-line Bible remains a magnificent example of the printer’s art.
Development of the printing process and printing the 42-line Bible was expensive. Over a period of years, Gutenberg borrowed a considerable sum from wealthy Mainz merchant Johann Fust, putting his printing equipment up as collateral. In 1455, just as the Bible printing neared completion, Fust foreclosed on Gutenberg for nonpayment and seized possession of the equipment and all work in progress. Fust then hired Gutenberg’s chief assistant, Peter Schoeffer, to finish production. It is unknown whether Gutenberg had any further hand in completing the project or reaped any financial benefits from his work. But his invention quickly spread throughout Europe. It is estimated that by 1500, there were already more than 1,000 printers operating out of some 200 locations in Europe. The basic printing process remained little changed for the next 400 years. Typography, on the other hand, began to change almost immediately. Gutenberg’s heavy Textura typeface was quickly eclipsed by more graceful, easier-to-read letterforms.
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