The document discusses the history of graphic design in Germany and the development of illustrated books. It describes how Johann Gutenberg developed the printing press and metal movable type in the 15th century. This allowed printers like Albrecht Pfister to illustrate books with woodblock prints for the first time. It also discusses the development of typography, how printing helped standardize languages and increase literacy, and the origins of the illustrated typographic book in 15th century Germany.

1. History of Graphic Design.
The German Illustrated Book.
 Hazeeq Amin bin Azhar.
 Asraf Shazwan bin Daud.
 Nur Farhana binti Mohamad
Sah.
 Siti Zakiah Hanum binti Sakeh.

2. The German Illustrated
Book.
• Art of Printing Gutenberg developed the letterpress printing
technique using metal types made by combining these relief and
intaglio techniques.
– First his method uses arranged types to print ink onto paper, and
many types must be prepared for each letter.
– The second key element in the Gutenberg printing method is ink.
– The third key element is the press.

3. The German Printers.
German Printers
• Johann Gutenberg (c.1400-1468)
• Johann Fust (d.1466) and
• Schöffer (d.1502) (Schöffer produced more than 200 titles of
incunabula)

4. Incunabula. • The Latin word incunabula means ‘”cradle” or
“baby linen.”
• In general, incunabula are defined as materials
that were printed before 1501, using metal type.
There are several points to be noted in this
definition.
• Xylographic books (using wooden types) are
usually not included in incunabula.
• Incunabula are not necessarily limited to
books. Even today, opinions are divided as to
whether or not booklets and pamphlets should
be included in the category of books.
Broadsides, such as advertisements, however,
are included in incunabula if they were printed
using metal type, and indulgences and other
single-sheet printed items such as calendars are
also included in classification.
• The term "incunabula" was first used by
Bernhard von Mallinckrodt (1591- 1664), a
German philologist.

5. Various
Typefaces
• Incunabula
started by creating
something similar
to medieval
manuscripts.
Gutenberg's 42-line
Bible used a script
called "textura
quadrata," which
had been used for
bibles and liturgies
of those days.
Textura Quadrata.
A distinctive feature of incunabula is that the typefaces
used are rich in variety. Incunabula started by creating
something similar to medieval manuscripts. Gutenberg's
42-line Bible used a script called "textura quadrata," which
had been used for bibles and liturgies of those days.

6. Roman Type.
• Roman type, meanwhile, accounts for 20% of all the types used in incunabula.
This type arose from humanism in the Italian Renaissance, which aimed at the
revival of ancient Roman cultural styles

7. Gothic and Roman
Typefaces.
• In those days the Gothic and Roman typefaces
included not only regular alphabet letters and
numbers but also other symbols and their
combinations (called "ligatures") or letters
with such symbols as "-," "~," or "º" attached.

8. Ars Moriendi. Ars moriendi - ("The Art of Dying") is the name of two
related Latin texts
about 1415-1450 which offer advice on the protocols
and procedures of a good death
and on how to "die well", according to the Christian
Church of the late Middle Ages.
It was basically Church propaganda used to scare you
into giving them money.

9. Typography.
• Typography is the major communications
advance between the invention of writing and
twentieth-century electronic mass
communications; it played a pivotal role in the
social, economic, and religious upheavals of
the fifteenth and sixteenth centuries.

10. Printing.
• Printing stabilized and unified languages.
German languages became typographic mass
media communicating to audiences of
unprecedented size with one voice,
contributing to the vigorous spirit of
nationalism that led to the development of
the modern nation-state.

11. Literacy.
• Illiteracy, the inability to read and write, began a
long, steady decline. Literacy was of limited value
to a medieval peasant who had no hope of
gaining access to books. But tumbling book
prices, the beginnings of popular genres such as
the romance (precursor of the modern novel),
and the proliferation of the ever-present
broadside made reading desirable and
increasingly necessary for Renaissance
townspeople.

12. Design Innovation.
• Design innovation did emerge in Germany,
where woodcut artists and typographic
printers collaborated to develop the illustrated
book and broadsheet. In Italy, the letter styles
and format design inherited from illuminated
manuscripts gave way to a design approach
unique to the typographic book.

13. Origins of
the
Illustrated
Typographi
c
Book.
• Bamberg printer Albrecht Pfister began to
illustrate his books with woodblock prints.
About 1460, he used five woodblocks and the
types from Gutenberg’s thirty-six-line Bible to
print his first edition of Johannes von Tepl’s
Der Ackerman aus Böhmen (Death and the
Ploughman)
Albrecht Pfister (1420-1470)

14. White-on-
Black
Woodblocks
-Spain received three German printers, who
arrived in Valencia in 1473 under the auspices
of a major German import-export firm.
-The design sense of the Spanish, which
favored dark masses balancing decorative
detail, influenced their graphic design,
particularly their large woodblock title pages.
-A particular masterpiece of Spanish Diego de
Gumiel, title page for Aureum Opus (Great
Works), 1515.
-The title almost becomes an afterthought in
this title page.
-The use of white-on-black woodblocks and
heraldic imagery is typical of early Spanish
graphic design.

15. Typographic
Design.
• Typographic design is Arnao
Guillén de Brocar’s Polyglot
• Bible of 1514–1517. Composed
of correlated texts in multiple
languages, this massive
research project drew scholars
from all over Europe to the
University of Alcalá de
Henares.