Little is known of this early printer, whose last name means "sacristan," his title as an official of the Great Church of Haarlem.
An editorial masterpiece by Aldus Manutius, an early printer, publisher, and editor, at the end of the 15th century made accessible to many almost the complete Greek corpus of Aristotle's works.
The French language owes much to the early printer-publisher Robert Estienne, who is known not only for his typographical innovations of the 1530s but also for his dictionaries.
The best of the early printers was Richard Pynson of Normandy, who began printing in 1492 and became printer to the king in 1508.
It is notable that the majority of early printers continued for many years to use the Gothic type for non-Humanist texts, ecclesiastical writings, and works on law.
Early printers often used a process known as impact printing, in which a small number of pins were driven into a desired pattern by an electromagnetic printhead.
The manual begins with thirteen biographies and engraved portraits of early printers, including Laurens Janszoon Koster (ca. 1370-ca. 1440), Johannes Gutenberg (ca. 1398-1468), Johann Fust (ca. 1400-1466), Aldus Manutius (1449/1450-1515), caristophe Plantin (ca. 1520-1589), amothershers.
Elizabethan printers clearly had little regard for strict textual accuracy, so that allowance must be made not only for error but for deliberate alteration by compositors; thus the textual criticism of 16th- and 17th-century books must include a study of the practices of early printers.
In hundreds of volumes of trade books he designed, typography was taken seriously (each book carried a brief colophon on the history of the type employed); there was an attempt to use contemporary typographic decoration; and the bindings, using designs made up of repeated decorative units like early printers' fleurons, were extremely successful.
Each of the hundreds of books he designed carried a brief colophon on the history of the type employed; there was an attempt to use contemporary typographic decoration; and the bindings, using designs made of repeated decorative units like early printers' fleurons, were extremely popular.
This and variations of it were only used for large numbers: M was sometimes written as CI) or ∞ by early printers, or as a ϕ in ancient Rome.
