Modern Printing Press

 MODERN PRINTING PRESS


There are many more authors than publishers of books. Since almost every school child owns and uses a home computer, this disparity might be even greater except for a technical barrier between home computers and high-speed printing presses in the way they treat illustrations. A presently insurmountable mismatch arose from commercial printing presses migrating from movable type (i.e. Gutenberg style) to page-images, whereas the computer industry aimed for cheap printers which perfected the Gutenberg method instead of replacing it. Commercial printers need to produce high volume output inexpensively, while cheap computer printers produce low-volume output and disregard a rather high unit price. Most of the barriers between the two have been overcome, except for photos and other detailed images. Let's give a simplified explanation.

Since 1993 when Adobe invented the method, commercial printers generally work from what amounts to a photograph of each page, called a PDF or "portable description format". To some extent, portions of a page can be stitched together like a patchwork quilt, but of course all the pieces must be uniform in their technology. The industry standard is that everything is printed at 300 dots per inch. That's essentially 300 pixels per inch. The establishment of this standard made it possible for huge high-speed presses to produce hundreds of pages of newsprint a minute on machines which cost millions of dollars apiece. Commercial printing during the first half of the Twentieth century accepted the massive cost of the printing machine in order to promote production speed. Home computer printers sacrificed production speed in order to become cheap. Profitability comes from the ink, not the printer.
Low-volume desktop printers can afford to take the time to examine each character or image as it comes along and readjusts appropriately. Essentially, computer printers do individual typesetting every time a new page is printed. They are thus able to exploit considerable compression for storage, or for the speed of electronic transmission for printing at a remote location. For them, 72 dots per inch are sufficient, since computer-driven printers have acquired the facility to guess the gaps between dots (dithering) well enough to fool the eye of the reader. Since the same thing is true of display monitors, there is resistance in the computer industry to sacrificing the interests of the multitude to the needs of those comparatively few authors and publishers who use the mass-printing industry to keep their unit costs low. Computer printing squashes thousands of pixels down to 72 per inch.
But it's hard to convert photo images back from 72 to 300 dpi since the dithering trick won't stretch that far. A good illustration is the washing of wool socks. You can throw argyle socks in a washing machine and they will shrink to the size of baby booties, but they won't stretch back up if you decide to wear them. The usual expedient is to enlarge a small picture and take a second picture of it, then enlarge the enlargement, and so on. Alternatively, the Genuine Fractals program by Altamira Group comes closer to achieving the desired result, but even it has limits. When someone has more than a very few pictures that need stretching between Internet screen display and commercial printers, the current best advice is to store two different-density copies of the same image, and use as required.

Printing Press

Slight re-design of work flow is advised to create still a third version of the image, for the purpose of storage. The biggest possible image with the most pixels possible should be stored on the author or publisher's own computer. A second, shriveled 72-dpi, image is sent to be stored on the host computer of a website, and can be used for desktop printing as well. When commercial printing happens to be desired, the much larger stored image can be shriveled to 300 dpi by conversion of a page to PDF format, or else (for editing) this third version of the image is incorporated into Office Word , subsequently re-incorporated back into a pdf file for final printing. PDF conversion is quick and simple once a decision is made as to what the final product should look like after it is printed. Fine art display or other highly demanding graphics will follow this general outline, as well. Those who have any aspiration for high-density output would be well advised to go back to the original photograph. In 2008, that translates into another maxim for the photographer who takes the original picture: Always take all photos in RAW format, with a view toward later flexibility of use. Less demanding output can be produced from degraded copies of the RAW original, the most common of which is now the so-called JPEG format. Those who discard an original RAW image, are almost always sorry. And those who buy cheaper cameras that go straight to JPEG are just asking for frustration. Now that memory chips have become cheap, the extra technology to generate the RAW image does not greatly increase the cost of a camera, but greatly enhances its ability to retouch images without breaking up in the repeated dithering and re-dithering usually required for retouching. A number of steps in the photography process could be eliminated if the user would accept the requirement of some new step resembling retouching as part of every snapshot.

Marinoni's Rotary Printing Press

The greatest progress that has been made in recent years in the art of printing is in the invention of the high speed press provided with continuous paper.
Three French constructors, Messrs. Marinoni, Alauzet, and Derriey, have brought this kind of apparatus to such a degree of perfection that the majority of foreign journals having a large circulation buy their presses in France. We reproduce in Fig. 1 a perspective view of the Marinoni press, and in Fig. 2 a diagram showing the parts of the same. In order to give a complete description of it, we cannot do better than to reproduce the very interesting study that has been made of it by Mr. Monet, a civil engineer.

FIG. 1.--MARINONI'S ROTARY PRINTING PRESS.
The roller, J (Fig. 2), is placed in the machine in the state in which it is received from the paper manufactory. The paper unwinds, runs over the rollers, e and e', which serve only for tautening it, and then passes between the two cylinders, A and B. The cylinder, A, carries the form, and B carries the blanket, and the paper thus receives its first impression. It afterward passes between the cylinders, A' and B', and receives an impression on the other side, the cylinder, A', carrying the form, and B' the blanket. Being now printed on both sides, it passes between the cylinders, KK', which cut it off and allow the sheet to slide between the cords of the rollers. These latter lead the sheets over the rollers, g h, on which they wind, one over the other, when the rollers, a a', are in the position shown by unbroken lines in the cut.
The part of the machine that holds the rollers, g h, and the different cords that wind over them, is the accumulator, and it is in this part of the press that the sheets accumulate, one over the other, to any number desired.
The size of the rollers, g h, and their distance apart are so regulated that when the sheet reaches the accumulator, it falls exactly on those that have preceded it. When the proper number of sheets is in the accumulator (4 or 5 being the number most employed for afterward facilitating the separation into packets on the receiving table), the two small rollers, a a', advance over the rack, N, and the sheets, instead of continuing to roll over into the accumulator, fall on the rack and are deposited by it upon the receiving table, O.

FIG. 2.--MARINONI'S PRESS.
The rack having fallen twenty times, and deposited five sheets each time, or one hundred in all, the table moves in such a way as to prevent the sheets subsequently deposited from getting mixed with them. When the rack has fallen twenty times, the table returns to its initial position.
The distributing rollers, D, come in contact with the inking rollers, I, once during each revolution of the printing cylinders, and are mounted on racking levers provided with regulating screws that permit of easily regulating the amount of ink taken up. The supports of the inking rollers are movable and can be made to approach or recede from the distributing rollers, so as to still further vary the amount of ink taken up by them.
The distributing rollers supply the ink to a roller, E, of large diameter, which, having a backward and forward motion, begins to distribute the ink and to transmit it to a second roller, F, of the same diameter. This latter then spreads it over a metallic cylinder, G, which is of the same diameter as the printing cylinders, and against which revolve three distributing rollers, H, that have a backward and forward motion.
Between the cylindrical inking table, G, and the type cylinder, there are situated inking cylinders, T, of large diameter, that constantly take up ink from the inking table and distribute it over the types.
The machine here described, when designed for printing large sized journals, has cylinders whose circumference corresponds to the size of paper for two widths of pages, and whose length is sufficient to allow it to receive two forms. Each cylinder, then, carries four forms, or eight in all, and prints two complete copies at each revolution.
The large sheet cut off by the cylinders, K K', contains, then, two copies; and this sheet, on passing under the roller, f is again cut in two by a disk which separates it in a direction perpendicular to the cylinders.
To this press there may be added a mechanical folder of Mr. Marinoni's invention, capable of folding a journal five times.--Annales Industrielles.

The Printing Press

He who first shortened the labor of copyists by device of movable types was disbanding hired armies, and cashiering most kings and senates, and creating a whole new democratic world: he had invented the art of printing.
(Thomas Carlyle, Sartor Resartus, 1833)

The Renaissance spread to Germany, France, England, and Spain in the late fifteenth and the sixteenth centuries. In its migration northward, Renaissance culture adapted itself to conditions unknown in Italy, such as the growth of the monarchical state and the strength of lay piety. In England France, and Spain, Renaissance culture tended to be court-centered and hence anti-republican. In Germany, no monarchical state existed but a vital tradition of lay piety was present was present in the Low Countries. The Brethren of the Common Life, for example, was a lay movement emphasizing education and practical piety. Intensely Christian and at the same time anticlerical (shades of what was to come!), the people in such movements found in Renaissance culture the tools for sharpening their wits against the clergy -- not to undermine faith, but restore its ancient apostolic purity.

Northern humanists were profoundly devoted to ancient learning but nothing in northern humanism compares to the paganizing trend associated with the Italian Renaissance. The northern humanists were chiefly interested in the problem of the ancient church and the question of what constituted original Christianity.

Two factors operated to accelerate the spread of Renaissance culture after 1450: growing economic prosperity and the printing press. Prosperity -- the result of peace and the decline of famine and the plague -- led to the founding of schools and colleges. In these schools the sons of gentlemen and nobles would receive a humanistic education imported from Italy. The purpose of such an education was to prepare men for a career in the church or civil service.

Sometime in the 13th century, paper money and playing cards from China reached the West. They were "block-printed," that is, characters or pictures were carved into a wooden block, inked, and then transferred to paper. Since each word, phrase or picture was on a separate block, this method of reproduction was expensive and time-consuming.

The extension of literacy among laypeople and the greater reliance of governments and businesses upon written records created a demand for a less-costly method of reproducing the written word. The import of paper from the East as well as "block-books" (see above), were major steps in transforming the printing of books. However, woodcuts were not sufficiently durable as they tended to split in the press after repeated use. Furthermore, a new block had to be carved for each new impression, and the block was discarded as unusable as soon as a slightly different impression was needed.

By the middle of the 15th century several print masters were on the verge of perfecting the techniques of printing with movable metal type. The first man to demonstrate the practicability of movable type was Johannes Gutenberg (c.1398-1468), the son of a noble family of Mainz, Germany. A former stonecutter and goldsmith, Gutenberg devised an alloy of lead, tin and antinomy that would melt at low temperature, cast well in the die, and be durable in the press. It was then possible to use and reuse the separate pieces of type, as long as the metal in which they were cast did not wear down, simply by arranging them in the desired order. The mirror image of each letter (rather than entire words or phrases), was carved in relief on a small block. Individual letters, easily movable, were put together to form words; words separated by blank spaces formed lines of type; and lines of type were brought together to make up a page. Since letters could be arranged into any format, an infinite variety of texts could be printed by reusing and resetting the type.

By 1452, with the aid of borrowed money, Gutenberg began his famous Bible project. Two hundred copies of the two-volume Gutenberg Bible were printed, a small number of which were printed on vellum. The expensive and beautiful Bibles were completed and sold at the 1455 Frankfurt Book Fair, and cost the equivalent of three years' pay for the average clerk. Roughly fifty of all Gutenberg Bibles survive today.

In spite of Gutenberg's efforts to keep his technique a secret, the printing press spread rapidly. Before 1500 some 2500 European cities had acquired presses. German masters held an early leadership, but the Italians soon challenged their preeminence. The Venetian printer Aldus Manutius published works, notably editions of the classics.

The immediate effect of the printing press was to multiply the output and cut the costs of books. It thus made information available to a much larger segment of the population who were, of course, eager for information of any variety. Libraries could now store greater quantities of information at much lower cost. Printing also facilitated the dissemination and preservation of knowledge in standardized form -- this was most important in the advance of science, technology and scholarship. The printing press certainly initiated an "information revolution" on par with the Internet today. Printing could and did spread new ideas quickly and with greater impact.

Printing stimulated the literacy of lay people and eventually came to have a deep and lasting impact on their private lives. Although most of the earliest books dealt with religious subjects, students, businessmen, and upper and middle class people bought books on all subjects. Printers responded with moralizing, medical, practical and travel manuals. Printing provided a superior basis for scholarship and prevented the further corruption of texts through hand copying. By giving all scholars the same text to work from, it made progress in critical scholarship and science faster and more reliable.

Technological factors

See also: History of Western typography and Medieval technology

At the same time, a number of medieval products and technological processes had reached a level of maturity which allowed their potential use for printing purposes. Gutenberg took up these far-flung strands, combined them into one complete and functioning system, and perfected the printing process through all its stages by adding a number of inventions and innovations of his own:

Early modern wine press. Such screw presses were applied in Europe to a wide range of uses and provided Gutenberg with the model for his printing press.

The screw press which allowed direct pressure to be applied on flat-plane was already of great antiquity in Gutenberg's time and was used for a wide range of tasks.^[13] Introduced in the 1st century AD by the Romans, it was commonly employed in agricultural production for pressing wine grapes and (olive) oil seeds, both of which formed an integral part of the mediterranean and medieval diet.^[14] The device was also used from very early on in urban contexts as a cloth press for printing patterns.^[15] Gutenberg may have also been inspired by the paper presses which had spread through the German lands since the late 14th century and which worked on the same mechanical principles.^[16]
Gutenberg adopted the basic design, thereby mechanizing the printing process.^[17] Printing, however, put a demand on the machine quite different from pressing. Gutenberg adapted the construction so that the pressing power exerted by the platen on the paper was now applied both evenly and with the required sudden elasticity. To speed up the printing process, he introduced a movable undertable with a plane surface on which the sheets could be swiftly changed.^[18]

Movable type sorted in a letter case and loaded in a composing stick on top

The concept of movable type was not entirely new in the 15th century; sporadic evidence that the typographical principle, the idea of creating a text by reusing individual characters, was well understood and employed in pre-Gutenberg Europe had been cropping up since the 12th century and possibly before. The known examples range from Germany (Prüfening inscription) to England (letter tiles) to Italy.^[19] However, the various techniques employed (imprinting, punching and assembling individual letters) did not have the refinement and efficiency needed to become widely accepted.
Gutenberg greatly improved the process by treating typesetting and printing as two separate work steps. A goldsmith by profession, he created his type pieces from a lead-based alloy which suited printing purposes so well that it is still used today.^[20] The mass production of metal letters was achieved by his key invention of a special hand mould, the matrix.^[21] The Latin alphabet proved to be an enormous advantage in the process because, in contrast to logographic writing systems, it allowed the type-setter to represent any text with a theoretical minimum of only around two dozen different letters.^[22]
Another factor conducive to printing arose from the book existing in the format of the codex, which had originated in the Roman period.^[23] Considered the most important advance in the history of the book prior to printing itself, the codex had completely replaced the ancient scroll at the onset of the Middle Ages (500 AD).^[24] The codex holds considerable practical advantages over the scroll format; it is more convenient to read (by turning pages), is more compact, less costly, and, in particular, unlike the scroll, both recto and verso could be used for writing − and printing.^[25]

A paper codex of the acclaimed 42-line Bible, Gutenberg's major work

A fourth development was the early success of medieval papermakers at mechanizing paper manufacture. The introduction of water-powered paper mills, the first certain evidence of which dates to 1282,^[26] allowed for a massive expansion of production and replaced the laborious handcraft characteristic of both Chinese^[27] and Muslim papermaking.^[28] Papermaking centres began to multiply in the late 13th century in Italy, reducing the price of paper to one sixth of parchment and then falling further; papermaking centers reached Germany a century later.^[29]
Despite this it appears that the final breakthrough of paper depended just as much on the rapid spread of movable-type printing.^[30] It is notable that codices of parchment, which in terms of quality is superior to any other writing material,^[31] still had a substantial share in Gutenberg's edition of the 42-line Bible.^[32] After much experimentation, Gutenberg managed to overcome the difficulties which traditional water-based inks caused by soaking the paper, and found the formula for an oil-based ink suitable for high-quality printing with metal type.^[33]

Economic conditions and intellectual climate

See also: History of capitalism and Medieval university

Medieval university class (1350s)

The rapid economic and socio-cultural development of late medieval society in Europe created favorable intellectual and technological conditions for Gutenberg's invention: the entrepreneurial spirit of emerging capitalism increasingly made its impact on medieval modes of production, fostering economic thinking and improving the efficiency of traditional work-processes. The sharp rise of medieval learning and literacy amongst the middle class led to an increased demand for books which the time-consuming hand-copying method fell far short of accommodating.^[12]

For the history and technology of movable type, see Movable type.

Printing press from 1811, exhibited in Munich, Germany

Stanhope press from 1842

A printing press is a device for applying pressure to an inked surface resting upon a print medium (such as paper or cloth), thereby transferring the ink. Typically used for texts, the invention and spread of the printing press are widely regarded as the most influential events in the second millennium AD, revolutionizing the way people conceive and describe the world they live in, and ushering in the period of modernity.
The printing press was invented in the Holy Roman Empire by the German Johannes Gutenberg around 1440, based on existing screw presses. Gutenberg, a goldsmith by profession, developed a complete printing system, which perfected the printing process through all its stages by adapting existing technologies to printing purposes, as well as making groundbreaking inventions of his own. His newly devised hand mould made for the first time possible the precise and rapid creation of metal movable type in large quantities, a key element in the profitability of the whole printing enterprise.
The mechanization of bookmaking led to the first mass production of books in history in assembly line-style. A single Renaissance printing press could produce 3,600 pages per workday, compared to forty by typographic hand-printing and a few by hand-copying. Books of bestselling authors like Luther or Erasmus were sold by the hundreds of thousands in their lifetime.
From a single point of origin, Mainz, Germany, printing spread within several decades to over two hundred cities in a dozen European countries. By 1500, printing presses in operation throughout Western Europe had already produced more than twenty million volumes. In the 16th century, with presses spreading further afield, their output rose tenfold to an estimated 150 to 200 million copies. The operation of a press became so synonymous with the enterprise of printing that it lent its name to an entire new branch of media, the press. As early as 1620, the English statesman and philosopher Francis Bacon could write that typographical printing has "changed the whole face and state of things throughout the world".
From its beginnings, printing was practiced also as a true art form, setting a high aesthetic and artistic standard, such as in the famous 42-line Bible. Today, incunables are among the most prized possessions of modern libraries.
The unprecedented impact of Gutenberg-style printing on the long-term development of modern European and then world history is difficult to capture in its entirety. Attempts at analysing its manifold effects include the notion of a proper Printing Revolution and the creation of the Gutenberg Galaxy. The ready availability and affordability of the printed word to the general public boosted the democratization of knowledge and laid the material basis for the modern knowledge-based economy.
In Renaissance Europe, the arrival of mechanical movable type printing introduced the era of mass communication which permanently altered the structure of society: The relatively unrestricted circulation of information and (revolutionary) ideas transcended borders, captured the masses in the Reformation and threatened the power of political and religious authorities; the sharp increase in literacy broke the monopoly of the literate elite on education and learning and bolstered the emerging middle class. Across Europe, the increasing cultural self-awareness of its peoples led to the rise of proto-nationalism, accelerated by the flowering of the European vernacular languages to the detriment of Latin's status as lingua franca.
In the 19th century, the replacement of the hand-operated Gutenberg-style press by steam-powered rotary presses allowed printing on an industrial scale, while Western-style printing was adopted all over the world, becoming practically the sole medium for modern bulk printing.

AT A GLANCE:

In 1440, German inventor Johannes Gutenberg invented a printing press process that, with refinements and increased mechanization, remained the principal means of printing until the late 20th century. The inventor's method of printing from movable type, including the use of metal molds and alloys, a special press, and oil-based inks, allowed for the first time the mass production of printed books.
Invention: printing press Function: noun / print·ing press Definition: A machine that transfers lettering or images by contact with various forms of inked surface onto paper or similar material fed into it in various ways The device is used for printing many copies of a text on paper.
Inventor: Johannes Gutenberg  (aka Johann Gutenberg) Criteria; First practical. Modern prototype. Entrepreneur. Birth: c1400 in Mainz, Germany Death: February 3, 1468 in Mainz, Germany Nationality: German
Milestones:  888 The Diamond Sutra, a Buddhist scripture, was the first dated example of block printing. 1041 Bi Sheng in China invented movable clay type 1423 Europeans use xylography (art of engraving on wood, block printing) to produce books. 1430 Gutenberg moved from his native town of Mainz to Strasburg 1436 Gutenberg begins work on his printing press. 1437 Gutenberg was sued for "breach of promise of marriage" by a young lady of  Strasburg 1440 Gutenberg completed his wooden press which used movable metal type. 1440 Laurens Janszoon Koster (Coster) is credited, by some, with inventing movable metal type 1444 Gutenberg returns to Mainz and sets up a printing shop 1446 Gutenberg prints the "Poem of the Last Judgment" 1448 Gutenberg prints the "Calendar for 1448" 1450 Gutenberg' formed a partnership with the wealthy Johann Fust 1450 Gutenberg begins work on a Bible, the first is 40 lines per page. 1452 Gutenberg begins printing the 42-line Bible in two volumes. 1454 Gutenberg prints indulgences (notes sold to Christians by the Pope, pardoning their sins) 1455 First block-printed Bible, the Biblia Pauperum, published in Germany. 1455 Gutenberg completed work on what is estimated to be 200 copies of the Bible 1455 Gutenberg was effectively bankrupt. Investor Johann Faust gains control of print business 1457 First known color printing, a Psalter (a collection of Psalms for devotional use) by Faust. 1460 Gutenberg reestablished himself in the printing business with the aid of Conrad Humery 1461 Albrecht Pfister printed the first illustrated book Edelstein which featured a number of woodcuts. 1465 Gutenberg is appointed to the court of Archbishop Adolf of Nassau 1476 Two hundred woodcuts were used in a edition of Aesop's Fables 1476 First use of copper engravings instead of woodcuts for illustration 1476 William Caxton sets up his printing press in Westminster, England. 1499 Printing had become established in more than 2500 cities around Europe. 1499 An estimated 15 million books have been press printed, representing thirty thousand book titles CAPs: Johannes Gutenberg, Johann Gutenberg, Bi Sheng, Laurens Janszoon Koster, Johann Faust, Peter Schoffer, Albrecht Pfister, Conrad Humery, Archbishop Adolf of Nassau, William Caxton, Gutenberg Bible, 42-line Bible, Mazarin Bible, Diamond Sutra, Poem of the Last Judgment, Calendar for 1448, Psalter, Aesop's Fables, SIPs: printing press, movable type, xylography, metal type, indulgences, typography, letterpress printing, invention, history, inventor of, history of, who invented, invention of, fascinating facts.

The Story:
In the mid-15th century Johannes Gutenberg invented a mechanical way of making books. This was the first example of mass book production. Before the invention of printing, multiple copies of a manuscript had to be made by hand, a laborious task that could take many years. Later books were produced by and for the Church using the process of wood engraving. This required the craftsman to cut away the background, leaving the area to be printed raised. This process applied to both text and illustrations and was extremely time-consuming. When a page was complete, often comprising a number of blocks joined together, it would be inked and a sheet of paper was then pressed over it for an imprint. The susceptibility of wood to the elements gave such blocks a limited lifespan .

In the Far East, movable type and printing presses were known but did not replace printing from individually carved wooden blocks, from movable clay type, processes much more efficient than hand copying. The use of movable type in printing was invented in 1041 AD by Bi Sheng in China. Since there are thousands of Chinese characters, the benefit of the technique is not as obvious as in European languages.

In China, there were no texts similar to the Bible which could guarantee a printer return on the high capital investment of a printing press, and so the primary form of printing was wood block printing which was more suited for short runs of texts for which the return was uncertain

It is not clear whether Gutenberg knew of these existing techniques or invented them independently, though the former is considered unlikely because of the substantial differences in technique. Europeans use xylography (art of engraving on wood, block printing) to produce books and used by European textile makers to print patterns on fabric.

Gutenberg began experimenting with metal typography (letterpress printing) after he had moved from his native town of Mainz to Strassburg around 1430. Knowing that wood-block type involved a great deal of time and expense to reproduce, because it had to be hand carved, Gutenberg concluded that metal type could be reproduced much more quickly once a single mold had been fashioned.

When Johannes Gutenberg began building his press in 1436, he was unlikely to have realised that he was giving birth to an art form which would take center stage in the social and industrial revolutions which followed. He was German, his press was wooden, and the most important aspect of his invention was that it was the first form of printing to use movable type.

His initial efforts enabled him in 1440 to mass-produce indulgences -- printed slips of paper sold by the Catholic Church to remit temporal punishments in purgatory for sins committed in this life, for those wealthy enough to afford indulgences. Although Laurence Koster (Coster) of Haarlem, Netherlands also laid claim to the invention, scholars have generally accepted Gutenberg as the father of modern printing.

Gutenberg left Strasburg, presumably about 1444. He seems to have perfected at enormous expense his invention shortly afterwards, as is shown by the oldest specimens of printing that have come down to us, the "Poem of the Last Judgment", and the "Calendar for 1448"). The fact that Arnolt Gelthuss, a relative of Gutenberg, lent him money in the year 1448 at Mainz points to the same conclusion.

Legal documents indicate that Gutenberg probably began printing the Bible around 1450. It was in this year that Gutenberg entered into a partnership with Johann Fust who lent him money to finance the production of a Bible. Gutenberg certainly introduced efficient methods into book production, leading to a boom in the production of texts in Europe -- in large part, owing to the popularity of the Gutenberg Bibles, the first mass-produced work, starting in 1452. Even so, Gutenberg was a poor businessman, and made little money from his printing system. The earliest dated specimens of printing by Gutenberg are papal indulgences (notes given to Christians by the Pope, pardoning their sins) issued in Mainz in 1454. In 1455, Gutenberg demonstrated the power of the printing press by selling copies of a two-volume Bible for a price that was the equivalent of approximately three years' wages for an average clerk, but it was significantly cheaper than a handwritten Bible that could take a single monk 20 years to transcribe.

In 1455, just as the project was nearing completion Johann Fust sued Gutenberg, taking possession of his printing equipment and the almost completed edition of the Bible. Fust subsequently entered into partnership with Peter Schoffer, who had been Gutenberg's assistant, and the project was finally completed in 1456 whereupon Fust undertook the task of marketing the bible. Fust first attempted to sell the Bibles as manuscripts but once potential purchasers observed the uniformity of the volumes, he had to reveal the means by which they were produced.

The mortgage covered the copious stock of type which had evidently been already prepared for the edition of the Psalter, which was printed by Fust and Schoffer in August, 1457. This included new type in two sizes, as well as the world-famous initial letters with their ingenious contrivance for two-color printing.

In 1457 Fust and Schoffer published a large Psalter, known as the Mainz Psalter, which featured printed red and blue intitials along with the black text. There is some debate about how these coloured letters were printed. They were either printed from two part metal blocks that were inked separately, re-assembled and then printed with the text, or they were stamped on after the main text was printed. Either way the process was time consuming and expensive so for several years it was more common for such decorative elements to be added by hand. The Mainz Psalter was also the first book to bear a printer's trademark and imprint, a printed date of publication and a colophon.
About 1457 Gutenberg also parted with his earliest-constructed founts of type, which he had made for the 40-line Bible,.Long before this Bible was printed the type had been used in an edition of the "Poem of the Last Judgment", and in the "Calendar for 1448", in editions of Donatus, and various other printed works. Most of this type fell into the possession of Albrecht Pfister in Bamberg.1460

The first person to print illustrated books was Albrecht Pfister. Around 1460 he published a book titled Der Ackermann von Bohmen (The Farmer from Bohmen). The only surviving copy of the first edition contains no illustrations but space has been left for them. A second edition printed in 1463 does include images. In 1461 Pfister printed an edition of Der Edelstein (a series of fables in German) which contained 101 woodcut illustrations. The woodcuts were in simple outline and were probably intended to be hand colored. (Most surviving copies have in fact been colored.)

Gutenberg next manufactured a new printer's outfit with the assistance he received from Conrad Humery, a distinguished and wealthy doctor of law, leader of the popular party, and chancellor of the council. This outfit comprised a set of small types fashioned after the round cursive handwriting used in books at that time and ornamented with an extraordinary number of ligatures. The type was used in the so-called "Catholicon" (grammar and alphabetic lexicon) in the year 1460, and also in several small books printed in Eltville down to the year 1472 by the brothers Echtermünze, relatives of Gutenberg. The Elector of Mainz, Archbishop Adolf of Nassau, presented him with a benefice  (an ecclesiastical office in 1465) yielding an income and various privileges.
Gutenberg's invention spread rapidly after his death in 1468.. It met in general with a ready, and an enthusiastic reception in the centers of culture. The names of more than 1000 printers, mostly of German origin, have come down to us from the fifteenth century. In Italy we find well over 100 German printers, in France 30, in Spain 26. Many of the earliest printers outside of Germany had learned their art in Mainz, where they were known as "goldsmiths". Among those who were undeniably pupils of Gutenberg, and who probably were also assistants in the Gutenberg-Fust printing house were (besides Schoffer), Numeister, Keffer, and Ruppel; Mentel in Strasburg (before 1460), Pfister in Bamberg (1461), Sweynheim in Subiaco and Rome (1464), and Johann von Speyer in Venice (1469).

The blocks used to illustrate early printed books were small and the images were often generic. There is evidence that printers exchanged blocks, with the same images being used in different editions of books. For example, two hundred woodcuts were used in a 1476 edition of Aesop's Fables and appear again in an edition by a different printer in 1480. There are also examples where the same image has been used to represent different subjects. In early illustrated books the text and illustrations were printed in separate operations, possibly because the type and the wood blocks were of different heights, but later examples were printed in one impression.

The first use of copper engravings for illustration occurred in 1476. Early experiments in using engraving for illustrations were not successful because the two different methods of printing not only required two operations; they required different types of equipment. As a result registration problems occurred. The solution was to print the images on separate sheets of paper and bind them into the book or to print on thin paper and cut out and paste the images in place.
William Caxton learned the printing trade in Europe and set up his press in Westminster, England. 1476  Many early printing types were calligraphic - they imitated handwriting. Caxton used and was famed for his Black Letter type which imitated the writing of the Haarlem monks. Artistically, he was perhaps the finest printer of his day although, as a man of politics and letters, he was an amateur.

The new printing presses had spread like brushfire through Europe. By 1499 print-houses had become established in more than 2500 cities in Europe. Fifteen million books had been flung into a world where scholars would travel miles to visit a library stocked with twenty hand-written volumes. Scholars argue about the number. It could've been as few as eight million or as many as twenty four. But the output of new books had been staggering by any reasonable estimate. The people had suddenly come into possession of some thirty thousand new book titles.

While the Gutenberg press was much more efficient than manual copying, the Industrial Revolution and the introduction of the steam powered rotary press allowed thousands of copies of a page in a single day. Mass production of printed works flourished after the transition to rolled paper, as continuous feed allowed the presses to run at a much faster pace.

Gutenberg's invention did not make him rich, but it laid the foundation for the commercial mass production of books. The success of printing meant that books soon became cheaper, and ever wider parts of the population could afford them. More than ever before, it enabled people to follow debates and take part in discussions of matters that concerned them. As a consequence, the printed book also led to more stringent attempts at censorship. This was a sign that it was felt by those in authority to be dangerous and challenging to their position.
Gutenberg's Movable Metal Type
In the Far East, movable type and printing presses were known but did not replace printing from individually carved wooden blocks, from movable clay type, processes much more efficient than hand copying. The use of movable type in printing was invented in 1041 AD by Bi Sheng in China. Since there are thousands of Chinese characters, the benefit of the technique is not as obvious as in European languages.

It is not clear whether Gutenberg knew of these existing techniques or invented them independently, though the former is considered unlikely because of the substantial differences in technique.The print technology that produced the Gutenberg Bible marks the beginning of a cultural revolution unlike any that followed the development of print culture in Asia.

Gutenberg was a goldsmith, a worker in metals, and a lapidary, and his invention both in conception and execution shows the worker in metals. Gutenberg multiplied the separate types in metal molds. The types thus produced he built in such a way that they might be aligned like the manuscript he was copying.
His aim, technically and æsthetically so extremely difficult, was the mechanical reproduction of the characters used in the manuscripts, i.e. the hand lettered books of the time. The works printed by Gutenberg plainly prove that the types used in them were made by a casting process where the letter-patterns were cut on small steel rods termed patrices, and the dies thus made were impressed on some soft metal, such as copper, producing the matrices, which were cast in the mold in such a manner as to form the "face" and "body" of the type at one operation.

The printing type represents therefore a multiplicity of cast reproductions of the original die, or patrix. In addition to this technical process of type-setting, Gutenberg found himself confronted with a problem hardly less difficult, namely, the copying of the beautiful calligraphy found in the books of the fifteenth century, constantly bearing in mind that it must be possible to engrave and to cast the individual forms, since the types, when set, must be substantially replicas of the model.

The genius of Gutenberg found a brilliant solution to this problem in all its complicated details. Even in the earliest types he made (e.g. in the Calendar for 1448), it can recognize not only the splendid reproduction of the actual forms of the original handwriting, but also the extremely artistic remodeling of individual letters necessitated by technical requirements.

The type reproductions were the work of a calligraphic artist of the highest order. He applied the well-tested rules of the calligraphist's art to the casting of types, observing in particular the rudimentary principle of always leaving the same space between the vertical columns of the text. Consequently Gutenberg prepared two markedly different forms of each letter, the normal separate form, and the compound or linked form which, being joined closely to the type next to it, avoids gaps. It is significant that this unique kind of letter is to be found in only four types, and these four are associated with Gutenberg.

No typographer in the fifteenth century was able to follow the ideal of the original inventor, and consequently research attributes to Gutenberg types of this character, namely, the two Bible and the two Psalter types. Especially in the magnificent design and in the technical preparation of the Psalter of 1457 do we recognize the pure, ever-soaring inventive genius of Gutenberg.
Gutenberg's Printing Press
The spread of literacy and the development of universities meant that by the 15th century, despite an assembly line approach to the production of books, supply was no longer able to meet demand. As a result there was widespread interest in finding an alternative means of producing books.Before books could be mass produced, several developments were necessary.

A ready supply of suitable material that could be printed on was required. Manuscript books were written on vellum and this material was used for some early printed books, but vellum was expensive and not available in sufficient quantity for the mass production of books. The introduction of the technique of making paper and the subsequent development of a European papermaking industry was a necessary condition for the widespread adoption of print technology.

Although a number of people had previously attempted to make metal type or had experimented with individual woodcut letters, it was not until a technique was devised for producing metal type in large quantities that printing with moveable type became economically feasible. Gutenberg, who had initially trained as a goldsmith, was to devise a means of producing metal type in sufficient quantities at a reasonable cost. This involved the design of a type-face and the production of molds used for making the individual pieces of type, as well as the development of an alloy that was soft enough to cast yet hard enough to use for printing.

It was also necessary to develop suitable inks for printing with the new type. The water-based inks used for hand lettering and for block printing will not stick to metal type, therefore a viscous oil based ink was required.

Finally, a press was needed for transferring the image from type to paper. Precedents existed in the presses used for making wine, cheese and paper and one of Johannes Gutenberg's innovations was to adapt these presses for the printing process. An operator worked a lever to increase and decrease the pressure of the block against the paper. The invention of the printing press, in turn, set off a social revolution that is still in progress.