History of printing

The history of printing starts as early as 3500 BCE, when the Persian and Mesopotamian civilizations used cylinder seals to certify documents written in clay. Other early forms include block seals, pottery imprints and cloth printing. Woodblock printing on paper originated in China around 200 CE. It led to the development of movable type in the eleventh century and the spread of book production in East Asia. Woodblock printing was also used in Europe, but it was in the fifteenth century that European printers combined movable type and alphabetic scripts to create an economical book publishing industry. This industry enabled the communication of ideas and sharing of knowledge on an unprecedented scale. Alongside the development of text printing, new and lower-cost methods of image reproduction were developed, including lithography, screen printing and photocopying.


Hands at the Cuevas de las Manos upon Río Pinturas, near the town of Perito Moreno in Santa Cruz Province, Argentina.

Hand stencils, made by blowing pigment over a hand held against a wall, have been found in Asia and Europe dating from over 35,000 years ago, and later prehistoric dates in other continents.[1][2] After that stencilling has been used as a historic painting technique on all kinds of materials. Stencils may have been used to colour cloth for a very long time; the technique probably reached its peak of sophistication in Katazome and other techniques used on silks for clothes during the Edo period in Japan. In Europe, from about 1450 they were commonly used to colour old master prints printed in black and white, usually woodcuts.[3] This was especially the case with playing-cards, which continued to be coloured by stencil long after most other subjects for prints were left in black and white.[4] Stencils were used for mass publications, as the type did not have to be hand-written.


King of Na gold seal
The King of Na gold seal, bestowed by Emperor Guangwu of Han to Wana (Yayoi Japan) in 57 AD.

In China seals were used since at least the Shang dynasty. In the Western Zhou, sets of seal stamps were encased in blocks of type and used on clay moulds for casting bronzes. By the end of the 3rd century BC seals were also used for printing on pottery. In the Northern dynasties textual sources contain references to wooden seals with up to 120 characters.[5]

The seals had a religious element to them. Daoists used seals as healing devices by impressing therapeutic characters onto the flesh of sick people. They were also used to stamp food, creating a talismanic character to ward off disease. The first evidence of these practices appeared under a Buddhist context in the mid 5th century. Centuries later seals were used to create hundreds of Buddha images.[5]

Stone and bronze blocks

Stone and bronze blocks have been used to print fabric. Archaeological evidence of them have been unearthed at Mawangdui and in the tomb of the King of Nanyue, while block printed fabrics have been discovered at Mashan zhuanchang in Jiangling, Hubei.[6]

In the 4th century the practice of creating paper rubbings of stone carvings such as calligraphic models and texts took hold. Among the earliest evidence of this is a stone inscription cut in mirror image from the early 6th century.[6]

Woodblock printing (200 AD)

The intricate frontispiece of the Diamond Sutra from Tang dynasty China, the world's earliest dated printed book, AD 868 (British Library)
Hongfo Pagoda woodblock B
Piece of a Western Xia wooden printing block for a Buddhist text written in Tangut script. Discovered in 1990 in the Hongfo Pagoda at Helan County, Ningxia.
Yuan dynasty woodblock
Yuan Dynasty woodblocks edition of a Chinese play
Mongolian wooden printing block
Mongolian Buddhist printing block.
Korean printing block
Korean wood printing block from the 19th century, on display at the British Museum in London.
Yangzhou Museum - woodblock for printing - CIMG2878
A printing block from Yangzhou.
Bronze printing plate for an advertisement
Song dynasty (960-1279) bronze plate advertising print for the Liu family needle shop at Jinan. Earliest extant print advertisement.
Copperplate of 1215–1216 5000-cash Jin dynasty (1115–1234) paper money with bronze movable type counterfeit markers
Beijing printing museum.12th century.Xixia argile movable type print
Ceramic movable type print from the Western Xia. Found in Wuwei.
Chinese movable type 1313-ce
A revolving typecase for wooden type in China, from Wang Zhen's book published in 1313
Beijing printing museum.Caractères mobiles en ancien Ouighour
Wooden movable type for Old Uyghur alphabet, dated to the 12th-13th centuries. Discovered in the Mogao caves.

Woodblock printing (diaoban yinshua 雕版印刷), known as xylography today, was the first method of printing applied to a paper medium. It became widely used throughout East Asia both as a method for printing on textiles and later, under the influence of Buddhism, on paper. As a method of printing on cloth, the earliest surviving examples from China date to about 220. Ukiyo-e is the best known type of Japanese woodblock art print. Most European uses of the technique on paper are covered by the term woodcut (see below), except for the block-books produced mainly in the fifteenth century.[7]

Legendary origins

According to southern Chinese histories, in the 480s, a man named Gong Xuanxuan styled himself Gong the Sage and 'said that a supernatural being had given him a "jade seal jade block writing," which did not require a brush: one blew on the paper and characters formed.'[8] He then used his powers to mystify a local governor. Eventually he was dealt with by the governor's successor, who presumably executed Gong.[9] Timothy Hugh Barrett postulates that Gong's magical jade block was actually a printing device, and Gong was one of the first, if not the first printer. The semi-mythical record of him therefore describes his usage of the printing process to deliberately bewilder onlookers and create an image of mysticism around himself.[10]

In the Sinosphere

The rise of printing was greatly influenced by Mahayana Buddhism. According to Mahayana beliefs, religious texts hold intrinsic value for carrying the Buddha's word and act as talismanic objects containing sacred power capable of warding off evil spirits. By copying and preserving these texts, Buddhists could accrue personal merit. As a consequence the idea of printing and its advantages in replicating texts quickly became apparent to Buddhists, who by the 7th century, were using woodblocks to create apotropaic documents. These Buddhist texts were printed specifically as ritual items and were not widely circulated or meant for public consumption. Instead they were buried in consecrated ground. The earliest extant example of this type of printed matter is a fragment of a dhāraṇī (Buddhist spell) miniature scroll written in Sanskrit unearthed in a tomb in Xi'an. It is called the Great spell of unsullied pure light (Wugou jingguang da tuoluoni jing 無垢淨光大陀羅尼經) and was printed using woodblock during the Tang dynasty, c. 650-670.[6] A similar piece, the Saddharma pundarika sutra, was also discovered and dated to 690 to 699.[11] This coincides with the reign of Wu Zetian, under which the Longer Sukhāvatīvyūha Sūtra, which advocates the practice of printing apotropaic and merit making texts and images, was translated by Chinese monks.[6]

Evidence of woodblock printing appeared in Korea and Japan soon afterward. The Great Dharani Sutra (Korean: 무구정광대다라니경, translit. Muggujeonggwang Daedharanigyeong Hanja: 無垢淨光大陀羅尼經) was discovered at Bulguksa, South Korea in 1966 and dated between 704 and 751 in the era of Later Silla. The document is printed on a 8 cm × 630 cm (3.1 in × 248.0 in) mulberry paper scroll.[12][13] A dhāraṇī sutra was printed in Japan around AD 770. One million copies of the sutra, along with other prayers, were ordered to be produced by Empress Shōtoku. As each copy was then stored in a tiny wooden pagoda, the copies are together known as the Hyakumantō Darani (百万塔陀羅尼, "1,000,000 towers/pagodas Darani").[6]

The oldest extant evidence of woodblock prints created for the purpose of reading are portions of the Lotus Sutra discovered at Turpan in 1906. They have been dated to the reign of Wu Zetian using character form recognition.[6]

The oldest text containing a specific date of printing was discovered in the Mogao Caves of Dunhuang in 1907 by Aurel Stein. This copy of the Diamond Sutra is 14 feet long and contains a colophon at the inner end, which reads: Reverently [caused to be] made for universal free distribution by Wang Jie on behalf of his two parents on the 13th of the 4th moon of the 9th year of Xiantong [i.e. 11 May, AD 868 ]. It is considered the world's oldest securely-dated woodblock scroll.[6]

The Diamond sutra was closely followed by the earliest extant printed almanac, the Qianfu sinian lishu (乾符四年曆書), dated to 877.[6]

From 932 to 955 the Twelve Classics and an assortment of other texts were printed. During the Song dynasty, the Directorate of education and other agencies used these block prints to disseminate their standardized versions of the Classics. Other disseminated works include the Histories, philosophical works, encyclopedias, collections, and books on medicine and the art of war.[6]

In 971 work began on the complete Tripiṭaka Buddhist Canon (Kaibao zangshu 開寶藏書) in Chengdu. It took 10 years to finish the 130,000 blocks needed to print the text. The finished product, the Sichuan edition of the Kaibao canon, also known as the Kaibao Tripitaka, was printed in 983.[6]

In 989 Seongjong of Goryeo sent the monk Yeoga to request from the Song a copy of the complete Buddhist canon. The request was granted in 991 when Seongjong's official Han Eongong visited the Song court.[14] In 1011, Hyeonjong of Goryeo issued the carving of their own set of the Buddhist canon, which would come to be known as the Goryeo Daejanggyeong. The project was suspended in 1031 after Heyongjong's death, but work resumed again in 1046 after Munjong's accession to the throne. The completed work, amounting to some 6,000 volumes, was finished in 1087. Unfortunately the original set of woodblocks was destroyed in a conflagration during the Mongol invasion of 1232. King Gojong ordered another set to be created and work began in 1237, this time only taking 12 years to complete. In 1248 the complete Goryeo Daejanggyeong numbered 81,258 printing blocks, 52,330,152 characters, 1496 titles, and 6568 volumes. Due to the stringent editing process that went into the Goryeo Daejanggyeong and its surprisingly enduring nature, having survived completely intact over 760 years, it is considered the most accurate of Buddhist canons written in Classical Chinese as well as a standard edition for East Asian Buddhist scholarship.[15]

Impact of woodblock printing

Prior to the introduction of printing, the size of private collections in China had already seen an increase since the invention of paper. Fan Ping (215-84) had in his collection 7,000 rolls (juan), or a few hundred titles. Two centuries later, Zhang Mian owned 10,000 juan, Shen Yue (441-513) 20,000 juan, and Xiao Tong and his cousin Xiao Mai both had collections of 30,000 juan. Emperor Yuan of Liang (508-555) was said to have had a collection of 80,000 juan. The combined total of all known private book collectors prior to the Song dynasty number around 200, with the Tang alone accounting for 60 of them.[16]

Following the maturation of woodblock printing, official, commercial, and private publishing businesses emerged while the size and number of collections grew exponentially. The Song dynasty alone accounts for some 700 known private collections, more than triple the number of all the preceding centuries combined. Private libraries of 10-20,000 juan became commonplace while six individuals owned collections of over 30,000 juan. The earliest extant private Song library catalogue lists 1,937 titles in 24,501 juan. Zhou Mi's collection numbered 42,000 juan, Chen Zhensun's collection lists 3,096 titles in 51,180 juan, and Ye Mengde (1077-1148) as well as one other individual owned libraries of 6,000 titles in 100,000 juan. The majority of which were secular in nature. Texts contained material such as medicinal instruction or came in the form of a leishu (類書), a type of encyclopedic reference book used to help examination candidates.[6][16]

Imperial establishments such as the Three Institutes: Zhaowen Institute, History Institute, and Jixian Institute also followed suit. At the start of the dynasty the Three Institutes' holdings numbered 13,000 juan, by the year 1023 39,142 juan, by 1068 47,588 juan, and by 1127 73,877 juan. The Three Institutes were one of several imperial libraries, with eight other major palace libraries, not including imperial academies.[17] According to Weng Tongwen, by the 11th century, central government offices were saving tenfold by substituting earlier manuscripts with printed versions.[18] The impact of woodblock printing on Song society is illustrated in the following exchange between Emperor Zhenzong and Xing Bing in the year 1005:

The emperor went to the Directorate of Education to inspect the Publications Office. He asked Xing Bing how many woodblocks were kept there. Bing replied, "At the start of our dynasty, there were fewer than four thousand. Today, there are more than one hundred thousand. The classics and histories, together with standard commentaries, are all fully represented. When I was young and devoted myself to learning, there were only one or two scholars in every hundred who possessed copies of all the classics and commentaries. There was no way to copy so many works. Today, printed editions of these works are abundant, and officials and commoners alike have them in their homes. Scholars are fortunate indeed to have been born in such an era as ours![19]

In 1076, the 39 year old Su Shi remarked upon the unforeseen effect an abundance of books had on examination candidates:

I can recall meeting older scholars, long ago, who said that when they were young they had a hard time getting their hands on a copy of Shiji or Han shu. If they were lucky enough to get one, they thought nothing of copying the entire text out by hand, so they could recite it day and night. In recent years merchants engrave and print all manner of books belonging to the hundred schools, and produce ten thousand pages a day. With books so readily available, you would think that students' writing and scholarship would be many times better than what they were in earlier generations. Yet, to the contrary, young men and examination candidates leave their books tied shut and never look at them, preferring to amuse themselves with baseless chatter. Why is this?[20]

Woodblock printing also changed the shape and structure of books. Scrolls were gradually replaced by concertina binding (經摺裝) from the Tang period onward. The advantage was that it was now possible to flip to a reference without unfolding the entire document. The next development known as whirlwind binding (xuanfeng zhuang 旋風裝) was to secure the first and last leaves to a single large sheet, so that the book could be opened like an accordion.[21]

Around the year 1000, butterfly binding was developed. Woodblock prints allowed two mirror images to be easily replicated on a single sheet. Thus two pages were printed on a sheet, which was then folded inwards. The sheets were then pasted together at the fold to make a codex with alternate openings of printed and blank pairs of pages. In the 14th century the folding was reversed outwards to give continuous printed pages, each backed by a blank hidden page. Later the sewn bindings were preferred rather than pasted bindings.[22] Only relatively small volumes (juan 卷) were bound up, and several of these would be enclosed in a cover called a tao, with wooden boards at front and back, and loops and pegs to close up the book when not in use. For example, one complete Tripitaka had over 6,400 juan in 595 tao.[23]

Despite the productive effect of woodblock printing, historian Endymion Wilkinson notes that it never supplanted handwritten manuscripts. Indeed, manuscripts remained dominant until the very end of Imperial China:

As a result of block-printing technology, it became easier and cheaper to produce multiple copies of books quickly. By the eleventh century, the price of books had fallen by about one tenth what they had been before and as a result they were more widely disseminated. Nevertheless, even in the fifteenth century most books in major libraries were still in manuscript, not in print. Almost to the end of the empire it remained cheaper to pay a copyist than to buy a printed book. Seven hundred and fifty years after the first imperially sponsored printed works in the Northern Song, the greatest book project of the eighteenth century, the Siku quanshu 四庫全書, was produced as a manuscript, not as a printed collection. About 4 percent of it was printed in movable type in 1773, but it was hand-carved movable wooden type. Indeed, the entire collection was only printed for the first time in the 1980s. Access to books, especially large works, such as the Histories, remained difficult right into the twentieth century.[24]

— Endymion Wilkinson

Not only did manuscripts remain competitive with imprints, they were even preferred by elite scholars and collectors. The age of printing gave the act of copying by hand a new dimension of cultural reverence. Those who considered themselves real scholars and true connoisseurs of the book did not consider imprints to be real books. Under the elitist attitudes of the time, "printed books were for those who did not truly care about books."[25]

However it should be noted that copyists and manuscript only continued to remain competitive with printed editions by dramatically reducing their price. According to the Ming dynasty author Hu Yinglin, "if no printed edition were available on the market, the hand-copied manuscript of a book would cost ten times as much as the printed work,"[26] also "once a printed edition appeared, the transcribed copy could no longer be sold and would be discarded."[26] The result is that despite the mutual co-existence of hand-copied manuscripts and printed texts, the cost of the book had declined by about 90 percent by the end of the 16th century.[26] As a result, literacy increased. In 1488, the Korean Choe Bu observed during his trip to China that "even village children, ferrymen, and sailors" could read, although this applied mainly to the south while northern China remained largely illiterate.[27]

In India

Nine inscribed copper plates thought to belong to the mature Harappan phase (2600 - 1900 BCE), are thought to be used for printing.[28]

In Buddhism, great merit is thought to accrue from copying and preserving texts. The 4th-century master listed the copying of scripture as the first of ten essential religious practices. The importance of perpetuating texts is set out with special force in the longer Sukhāvatīvyūha Sūtra, which urges the devout not only to hear, learn, remember and study the text but to obtain a good copy and to preserve it. This "cult of the book" led to techniques for reproducing texts in great numbers, especially the short prayers or charms known as dhāraṇīs. Stamps were carved for printing these prayers on clay tablets from at least the 7th century, the date of the oldest surviving examples.[29]

In Europe

Printing with a press was practiced in Christian Europe as a method for printing on cloth, where it was common by 1300. Images printed on cloth for religious purposes could be quite large and elaborate, and when paper became relatively easily available, around 1400, the medium transferred very quickly to small woodcut religious images and playing cards printed on paper. These prints were produced in very large numbers from about 1425 onwards.[30]

Around the mid-century, block-books, woodcut books with both text and images, usually carved in the same block, emerged as a cheaper alternative to manuscripts and books printed with movable type. These were all short heavily illustrated works, the bestsellers of the day, repeated in many different block-book versions: the Ars moriendi and the Biblia pauperum were the most common. There is still some controversy among scholars as to whether their introduction preceded or, the majority view, followed the introduction of movable type, with the range of estimated dates being between about 1440–1460.[31]

Movable type (1041)

Movable type is the system of printing and typography using movable pieces of metal type, made by casting from matrices struck by letterpunches.

Ceramic movable-type

Movable-type was invented in the Northern Song dynasty around the year 1041 by the commoner Bi Sheng. Bi Sheng's movable-type was fired in porcelain. After his death, the ceramic movable-type passed onto his descendants. The next mention of movable-type occurred in 1193 when a Southern Song chief counselor, Zhou Bida (周必大), attributed the movable-type method of printing to Shen Kuo. However Shen Kuo did not invent the movable-type but credited it to Bi Sheng in his Dream Pool Essays. The ceramic movable-type was also mentioned by Kublai Khan's councilor Yao Shu, who convinced his pupil Yang Gu to print language primers using this method.[32]

Wooden movable type

Bi Sheng also developed wooden movable type, but it was abandoned in favor of ceramic types due to the presence of wood grains and the unevenness of the wooden type after being soaked in ink.[33][34] However wooden movable type had evidently reached the Tangut Western Xia to the west by the 12th century. There, the Tanguts printed the Auspicious Tantra of All-Reaching Union, a 449-page text considered to be the earliest extant example of a text printed using the wooden movable type.[35]

Wang Zhen, who lived in the Yuan dynasty, also described the wooden movable type in his Book of Agriculture (Nongshu 農書) of 1313.[32]

Now, however, there is another method [beyond earthenware type] that is both more exact and more convenient. A compositor's form is made of wood, strips of bamboo are used to mark the lines and a block is engraved with characters. The block is then cut into squares with a small fine saw till each character forms a separate piece. These separate characters are finished off with a knife on all four sides, and compared and tested till they are exactly the same height and size. Then the types are placed in the columns [of the form] and bamboo strips which have been prepared are pressed in between them. After the types have all been set in the form, the spaces are filled in with wooden plugs, so that the type is perfectly firm and will not move. When the type is absolutely firm, the ink is smeared on and printing begins.[36]

— Wang Zhen

Wang Zhen used two rotating circular tables as trays for laying out his type. The first table was separated into 24 trays in which each movable type was categorized based on a number corresponding with a rhyming pattern. The second table contained miscellaneous characters.[32]

Using more than 30,000 wooden movable types, Wang Zhen printed a hundred copies of his county gazetteer, Records of Jingde County (Jingde xianzhi 旌德縣志), a text containing more than 60,000 characters.[32]

Wooden movable type printing became relatively common during the Ming dynasty and became widespread during the Qing era.[32]

Metal movable type

Korean book-Jikji-Selected Teachings of Buddhist Sages and Seon Masters-1377
Jikji, Selected Teachings of Buddhist Sages and Seon Masters, the earliest known book printed with movable metal type, 1377. Bibliothèque Nationale de France, Paris.
Type used to print the earliest extant book using movable type - the Jikji (1377).
Beijing.Musee imprimerie.caracteres mobiles.Bisheng
Models of Bi Sheng's revolving typecase tables.

Metal movable type appeared in the late Song and Yuan. Bronze movable types were used to print banknotes and official documents by both the Song and Jin.[37]

In the Jin dynasty, copper-block prints were slotted with two square holes for embedding bronze movable type characters, each selected from 1000 different characters, such that each printed paper money had a different combination of markers. A copper block printed paper banknote dated between 1215–1216 in the collection of Luo Zhenyu's Pictorial Paper Money of the Four Dynasties, 1914, shows two special characters: one called Ziliao, the other called Zihao, for the purpose of preventing counterfeit. Over the Ziliao there is a small character (輶) printed with movable copper type, while over the Zihao there is an empty square hole; apparently the associated copper metal type was lost. Another sample of Song dynasty money of the same period in the collection of Shanghai Museum has two empty square holes above Ziliao as well as Zihou, due to the loss of two copper movable types.[38]

In 1234, cast metal movable type was used in Goryeo (Korea) to print the 50-volume Prescribed Texts for Rites of the Past and Present, but no copies survived to the present.[39] The oldest extant book printed with movable metal type is the Jikji of 1377.[40] This form of metal movable type was described by the French scholar Henri-Jean Martin as "extremely similar to Gutenberg's".[41]

Tin movable type is mentioned in Wang Zhen's Zao Huozi Yinshufa (造活字印書法) of 1298, but it was considered unsatisfactory due to incompatibility with the inking process.[42]

Impact of movable type in the Sinosphere

Movable type printing was hardly used for the first 300 years after its invention by Bi Sheng. Even in Korea where metal movable type was most widespread, it still never replaced woodblock printing. Indeed, even the promulgation of Hangeul was done through woodblock prints. The general assumption is that movable type did not replace block printing in places that used Chinese characters due to the expense of producing more than 200,000 individual pieces of type. Even woodblock printing was not as cost productive as simply paying a copyist to write out a book by hand if there was no intention of producing more than a few copies. Although Sejong the Great introduced Hangeul, an alphabetic system, in the 15th century, Hangeul only replaced Hanja in the 20th century.[32] And unlike China, the movable type system was kept mainly within the confines of a highly stratified elite Korean society:

Korean printing with movable metallic type developed mainly within the royal foundry of the Yi dynasty. Royalty kept a monopoly of this new technique and by royal mandate suppressed all non-official printing activities and any budding attempts at commercialization of printing. Thus, printing in early Korea served only the small, noble groups of the highly stratified society.[43]

— Sohn Pow-Key

Only during the Ming and Qing dynasties did wooden and metal movable types see any considerable use, but the preferred method remained woodblock. Usage of movable type in China never exceeded 10 percent of all printed materials while 90 percent of printed books used the older woodblock technology. In one case an entire set of wooden type numbering 250,000 pieces was used for firewood.[21] Woodblocks remained the dominant printing method in China until the introduction of lithography in the late 19th century.[5]

In Japan the use of printing beyond its Buddhist origins was insignificant for centuries after its introduction. Printing of secular materials did not pick up until the late 16th century. The Setsuyō-shū, a two-volume Chinese-Japanese dictionary printed in 1591, was the first secular book to be printed in Japan. Only after Toyotomi Hideyoshi's invasions of Korea, which brought back artisans and printing equipment in 1593, did Japan acquire its own wooden type font. Under Emperor Go-Yōzei's orders, the Confucian Analects were printed using metal movable type in 1598. It is generally considered to be the earliest extant Japanese text printed using metal movable type. The popularity of movable type in Japan was short lived. By the 1640s woodblock printing had reasserted itself as the dominant mode of printing in Japan.[44]


Traditionally it has been assumed that the prevalence of woodblock printing in East Asia as a result of Chinese characters led to the stagnation of printing culture and enterprise in that region. S. H. Steinberg describes woodblock printing in his Five Hundred Years of Printing as having "outlived their usefulness" and their printed material as "cheap tracts for the half-literate, ... which anyway had to be very brief because of the laborious process of cutting the letters."[45] John Man's The Gutenberg Revolution makes a similar case: "wood-blocks were even more demanding than manuscript pages to make, and they wore out and broke, and then you had to carve another one - a whole page at a time."[45]

Recent commentaries on printing in China using contemporary European observers with first hand knowledge complicate the traditional narrative. T. H. Barrett points out that only Europeans who had never seen Chinese woodblock printing in action tended to dismiss it, perhaps due to the almost instantaneous arrival of both xylography and movable type in Europe. The early Jesuit missionaries of late 16th century China, for instance, had a similar distaste for wood based printing for very different reasons. These Jesuits found that "the cheapness and omnipresence of printing in China made the prevailing wood-based technology extremely disturbing, even dangerous."[46] Matteo Ricci made note of "the exceedingly large numbers of books in circulation here and the ridiculously low prices at which they are sold."[47] Two hundred years later the Englishman John Barrow, by way of the Macartney mission to Qing China, also remarked with some amazement that the printing industry was "as free as in England, and the profession of printing open to everyone."[46] The commercial success and profitability of woodblock printing was attested to by one British observer at the end of the nineteenth century, who noted that even before the arrival of western printing methods, the price of books and printed materials in China had already reached an astoundingly low price compared to what could be found in his home country. Of this, he said:

We have an extensive penny literature at home, but the English cottager cannot buy anything like the amount of printed matter for his penny that the Chinaman can for even less. A penny Prayer-book, admittedly sold at a loss, cannot compete in mass of matter with many of the books to be bought for a few cash in China. When it is considered, too, that a block has been laboriously cut for each leaf, the cheapness of the result is only accounted for by the wideness of sale.[48]

Other modern scholars such as Endymion Wilkinson hold a more conservative and skeptical view. While Wilkinson does not deny "China's dominance in book production from the fourth to the fifteenth century," he also insists that arguments for the Chinese advantage "should not be extended either forwards or backwards in time."[49]

European book production began to catch up with China after the introduction of the mechanical printing press in the mid fifteenth century. Reliable figures of the number of imprints of each edition are as hard to find in Europe as they are in China, but one result of the spread of printing in Europe was that public and private libraries were able to build up their collections and for the first time in over a thousand years they began to match and then overtake the largest libraries in China.[49]

— Endymion Wilkinson

European movable type (1453)

European Output of Printed Books ca. 1450–1800
European output of books printed by movable type from ca. 1450 to 1800[50]
Printing towns incunabula
The rapid spread of printing from Mainz in the 15th century

Eastern metal movable type may have spread to Europe between the late 14th and early 15th centuries.[51][52][53][54][55]

It is traditionally surmised that Johannes Gutenberg, of the German city of Mainz, developed European movable type printing technology with the printing press around 1439[56] and in just over a decade, the European age of printing began. However, the evidence shows a more complex evolutionary process, spread over multiple locations.[57] Also, Johann Fust and Peter Schöffer experimented with Gutenberg in Mainz.

Compared to woodblock printing, movable type page-setting was quicker and more durable. The metal type pieces were more durable and the lettering was more uniform, leading to typography and fonts. The high quality and relatively low price of the Gutenberg Bible (1455) established the superiority of movable type, and printing presses rapidly spread across Europe, leading up to the Renaissance, and later all around the world. Today, practically all movable type printing ultimately derives from Gutenberg's movable type printing, which is often regarded as the most important invention of the second millennium.[58]

Gutenberg is also credited with the introduction of an oil-based ink which was more durable than previously used water-based inks. Having worked as a professional goldsmith, Gutenberg made skillful use of his knowledge of metals. He was also the first to make his type from an alloy of lead, tin, and antimony, known as type metal, printer's lead, or printer's metal, which was critical for producing durable type that produced high-quality printed books, and proved to be more suitable for printing than the clay, wooden or bronze types used in East Asia. To create these lead types, Gutenberg used what some considered his most ingenious invention: a special matrix which enabled the moulding of new movable types with an unprecedented precision at short notice. Within a year of printing the Gutenberg Bible, Gutenberg also published the first coloured prints.

The invention of the printing press revolutionized communication and book production, leading to the spread of knowledge. Printing was rapidly spread from Germany by emigrating German printers, but also by foreign apprentices returning home. A printing press was built in Venice in 1469, and by 1500 the city had 417 printers. In 1470 Johann Heynlin set up a printing press in Paris. In 1473 Kasper Straube published the Almanach cracoviense ad annum 1474 in Kraków. Dirk Martens set up a printing press in Aalst (Flanders) in 1473. He printed a book about the two lovers of Enea Piccolomini who became Pope Pius II. In 1476 a printing press was set up in England by William Caxton. The Italian Juan Pablos set up an imported press in Mexico City in 1539. The first printing press in Southeast Asia was set up in the Philippines by the Spanish in 1593. The Rev. Jose Glover intended to bring the first printing press to England's American colonies in 1638, but died on the voyage, so his widow, Elizabeth Harris Glover, established the printing house, which was run by Stephen Day and became The Cambridge Press.[59]

The Gutenberg press was much more efficient than manual copying. It remained largely unchanged in the eras of John Baskerville and Giambattista Bodoni, over 300 years later.[60] By 1800, Lord Stanhope had constructed a press completely from cast iron, reducing the force required by 90% while doubling the size of the printed area.[60] While Stanhope's "mechanical theory" had improved the efficiency of the press, it was only capable of 250 sheets per hour.[60] German printer Friedrich Koenig was the first to design a non-manpowered machine—using steam.[60] He moved to London in 1804, and met Thomas Bensley; he secured financial support for his project in 1807.[60] With a patent in 1810, Koenig designed a steam press "much like a hand press connected to a steam engine."[60] The first production trial of this model occurred in April 1811.

Flat-bed printing press

Handtiegelpresse von 1811
Printing press from 1811, photographed in Munich, Germany.

A printing press is a mechanical device for applying pressure to an inked surface resting upon a medium (such as paper or cloth), thereby transferring an image. The systems involved were first assembled in Germany by the goldsmith Johannes Gutenberg in the mid-15th century.[56] Printing methods based on Gutenberg's printing press spread rapidly throughout first Europe and then the rest of the world, replacing most block printing and making it the sole progenitor of modern movable type printing. As a method of creating reproductions for mass consumption, the printing press has been superseded by the advent of offset printing.

Johannes Gutenberg's work in the printing press began in approximately 1436 when he partnered with Andreas Dritzehen—a man he had previously instructed in gem-cutting—and Andreas Heilmann, owner of a paper mill.[56] It was not until a 1439 lawsuit against Gutenberg that official record exists; witnesses testimony discussed type, an inventory of metals (including lead) and his type mold.[56]

Others in Europe were developing movable type at this time, including goldsmith Procopius Waldfoghel of France and Laurens Janszoon Coster of the Netherlands.[56] They are not known to have contributed specific advances to the printing press.[56] While the Encyclopædia Britannica Eleventh Edition had attributed the invention of the printing press to Coster, the company now states that is incorrect.[61]

Printer in 1568-ce
In this woodblock from 1568, the printer at left is removing a page from the press while the one at right inks the text-blocks

Printing houses in Europe

Early printing houses (near the time of Gutenberg) were run by "master printers." These printers owned shops, selected and edited manuscripts, determined the sizes of print runs, sold the works they produced, raised capital and organized distribution. Some master printing houses, like that of Aldus Manutius, became the cultural center for literati such as Erasmus.

  • Print shop apprentices: Apprentices, usually between the ages of 15 and 20, worked for master printers. Apprentices were not required to be literate, and literacy rates at the time were very low, in comparison to today. Apprentices prepared ink, dampened sheets of paper, and assisted at the press. An apprentice who wished to learn to become a compositor had to learn Latin and spend time under the supervision of a journeyman.
  • Journeyman printers: After completing their apprenticeships, journeyman printers were free to move employers. This facilitated the spread of printing to areas that were less print-centred.
  • Compositors: Those who set the type for printing.
  • Pressmen: the person who worked the press. This was physically labour-intensive.

The earliest-known image of a European, Gutenberg-style print shop is the Dance of Death by Matthias Huss, at Lyon, 1499. This image depicts a compositor standing at a compositor's case being grabbed by a skeleton. The case is raised to facilitate his work. At the right of the printing house a bookshop is shown.

Financial aspects

According to court records from the city of Mainz, Johannes Fust was for some time Gutenberg's financial backer. By the 16th century jobs in printing were becoming increasingly specialized. Structures supporting publishers were more and more complex, leading to division of labour. In Europe between 1500 and 1700 the role of the Master Printer was dying out and giving way to the bookseller—publisher. During this period, printing had a stronger commercial imperative than previously. Risks associated with the industry however were substantial, although dependent on the nature of the publication.

Bookseller publishers negotiated at trade fairs and at print shops. Jobbing work appeared: some printers performed menial tasks at the beginning of their careers to support themselves.

From 1500–1700 publishers developed several new methods of funding projects:

  1. Cooperative associations/publication syndicates—a number of individuals shared the risks associated with printing and shared in the profit. This was pioneered by the French.
  2. Subscription publishing: pioneered by the English in the early 17th century. A prospectus for a publication was drawn up by a publisher to raise funding. The prospectus was given to potential buyers who signed up for a copy. If there were not enough subscriptions the publication did not go ahead. Lists of subscribers were included in the books as endorsements. If enough people subscribed, there might be a reprint. Some authors used subscription publication to bypass the publisher entirely.
  3. Installment publishing: books were issued in parts until a complete book had been issued. This was not necessarily done within a fixed time period. It was an effective method of spreading the cost over a period of time. It also allowed earlier returns on investment to help cover the production costs of subsequent installments.

The Mechanick Exercises, by Joseph Moxon, in London, 1683, was said to be the first publication in installments.[62]

Publishing trade organizations allowed publishers to organize business concerns collectively. These arrangements included systems of self-regulation. For example, if one publisher did something to irritate other publishers he would be controlled by peer pressure. Such systems are known as cartels, and are in most countries now considered to be in restraint of trade. These arrangements helped deal with labour unrest among journeymen, who faced difficult working conditions. Brotherhoods predated unions, without the formal regulations now associated with unions.

In most cases, publishers bought the copyright in a work from the author, and made some arrangement about the possible profits. This required a substantial amount of capital in addition to that needed for the physical equipment and staff. Alternatively, an author with some capital available would sometimes keep the copyright himself, and simply pay the printer to print the book.

Rotary printing press

In a rotary printing press, the impressions are carved around a cylinder so that the printing can be done on long continuous rolls of paper, cardboard, plastic, or a large number of other substrates. Rotary drum printing was invented by Richard March Hoe in 1843 and patented in 1847, and then significantly improved by William Bullock in 1863.


Intaglio printing. The top line is the paper, to which a slightly raised layer of ink adheres; the matrix is beneath

Intaglio (/ɪnˈtælioʊ/) is a family of printmaking techniques in which the image is incised into a surface, known as the matrix or plate. Normally, copper or zinc plates are used as a surface, and the incisions are created by etching, engraving, drypoint, aquatint or mezzotint. Collographs may also be printed as intaglio plates. To print an intaglio plate the surface is covered in thick ink and then rubbed with tarlatan cloth to remove most of the excess. The final smooth wipe is usually done by hand, sometimes with the aid of newspaper or old public phone book pages, leaving ink only in the incisions. A damp piece of paper is placed on top and the plate and paper are run through a printing press that, through pressure, transfers the ink from the recesses of the plate to the paper.

Lithography (1796)

Litography press with map of Moosburg 02
Lithography press for printing maps in Munich.
Lithography stone Princeton motif
stone used for a lithograph with a view of Princeton University (Collection: Princeton University Library, NJ)

Invented by Bavarian author Aloys Senefelder in 1796,[63] lithography is a method for printing on a smooth surface. Lithography is a printing process that uses chemical processes to create an image. For instance, the positive part of an image would be a hydrophobic chemical, while the negative image would be water. Thus, when the plate is introduced to a compatible ink and water mixture, the ink will adhere to the positive image and the water will clean the negative image. This allows for a relatively flat print plate which allows for much longer runs than the older physical methods of imaging (e.g., embossing or engraving). High-volume lithography is used today to produce posters, maps, books, newspapers, and packaging — just about any smooth, mass-produced item with print and graphics on it. Most books, indeed all types of high-volume text, are now printed using offset lithography.

In offset lithography, which depends on photographic processes, flexible aluminum, polyester, mylar or paper printing plates are used in place of stone tablets. Modern printing plates have a brushed or roughened texture and are covered with a photosensitive emulsion. A photographic negative of the desired image is placed in contact with the emulsion and the plate is exposed to ultraviolet light. After development, the emulsion shows a reverse of the negative image, which is thus a duplicate of the original (positive) image. The image on the plate emulsion can also be created through direct laser imaging in a CTP (Computer-To-Plate) device called a platesetter. The positive image is the emulsion that remains after imaging. For many years, chemicals have been used to remove the non-image emulsion, but now plates are available that do not require chemical processing.

Color printing

Uncle Sam Supplying the World with Berry Brothers Hard Oil Finish
Calvert Lithographic Company, Detroit, MI. Uncle Sam Supplying the World with Berry Brothers Hard Oil Finish, c. 1880. Noel Wisdom Chromolithograph Collection, Special Collections Department, The University of South Florida Tampa Library.

According to Michael Sullivan, the earliest known example of color printing "is a two-color frontispiece to a Buddhist sutra scroll, dated 1346". Color printing continued to be used in China throughout the Ming and Qing Dynasty.[64]

Chromolithography became the most successful of several methods of colour printing developed by the 19th century; other methods were developed by printers such as Jacob Christoph Le Blon, George Baxter and Edmund Evans, and mostly relied on using several woodblocks with the colors. Hand-coloring also remained important; elements of the official British Ordnance Survey maps were colored by hand by boys until 1875. Chromolithography developed from lithography and the term covers various types of lithography that are printed in color.[65] The initial technique involved the use of multiple lithographic stones, one for each color, and was still extremely expensive when done for the best quality results. Depending on the number of colors present, a chromolithograph could take months to produce, by very skilled workers. However much cheaper prints could be produced by simplifying both the number of colors used, and the refinement of the detail in the image. Cheaper images, like the advertisement illustrated, relied heavily on an initial black print (not always a lithograph), on which colors were then overprinted. To make an expensive reproduction print as what was once referred to as a "’chromo’", a lithographer, with a finished painting in front of him, gradually created and corrected the many stones using proofs to look as much as possible like the painting in front of him, sometimes using dozens of layers.[66]

Aloys Senefelder, the inventor of lithography, introduced the subject of colored lithography in his 1818 Vollstaendiges Lehrbuch der Steindruckerey (A Complete Course of Lithography), where he told of his plans to print using color and explained the colors he wished to be able to print someday.[67] Although Senefelder recorded plans for chromolithography, printers in other countries, such as France and England, were also trying to find a new way to print in color. Godefroy Engelmann of Mulhouse in France was awarded a patent on chromolithography in July 1837,[67] but there are disputes over whether chromolithography was already in use before this date, as some sources say, pointing to areas of printing such as the production of playing cards.[67]

Offset press (1870s)

Offset printing is a widely used printing technique where the inked image is transferred (or "offset") from a plate to a rubber blanket, then to the printing surface. When used in combination with the lithographic process, which is based on the repulsion of oil and water, the offset technique employs a flat (planographic) image carrier on which the image to be printed obtains ink from ink rollers, while the non-printing area attracts a film of water, keeping the non-printing areas ink-free.

Screenprinting (1907)

Screenprinting has its origins in simple stencilling, most notably of the Japanese form (katazome), used who cut banana leaves and inserted ink through the design holes on textiles, mostly for clothing. This was taken up in France. The modern screenprinting process originated from patents taken out by Samuel Simon in 1907 in England. This idea was then adopted in San Francisco, California, by John Pilsworth in 1914 who used screenprinting to form multicolor prints in a subtractive mode, differing from screenprinting as it is done today.


A flexographic printing plate.

Flexography (also called "surface printing"), often abbreviated to "flexo", is a method of printing most commonly used for packaging (labels, tape, bags, boxes, banners, and so on).

A flexo print is achieved by creating a mirrored master of the required image as a 3D relief in a rubber or polymer material. A measured amount of ink is deposited upon the surface of the printing plate (or printing cylinder) using an anilox roll. The print surface then rotates, contacting the print material which transfers the ink.

Originally flexo printing was basic in quality. Labels requiring high quality have generally been printed Offset until recently. In the last few years great advances have been made to the quality of flexo printing presses.

The greatest advances though have been in the area of PhotoPolymer Printing Plates, including improvements to the plate material and the method of plate creation. —usually photographic exposure followed by chemical etch, though also by direct laser engraving.

Dot matrix printer (1968)

A dot matrix printer or impact matrix printer refers to a type of computer printer with a print head that runs back and forth on the page and prints by impact, striking an ink-soaked cloth ribbon against the paper, much like a typewriter. Unlike a typewriter or daisy wheel printer, letters are drawn out of a dot matrix, and thus, varied fonts and arbitrary graphics can be produced. Because the printing involves mechanical pressure, these printers can create carbon copies and carbonless copies.

Each dot is produced by a tiny metal rod, also called a "wire" or "pin", which is driven forward by the power of a tiny electromagnet or solenoid, either directly or through small levers (pawls). Facing the ribbon and the paper is a small guide plate (often made of an artificial jewel such as sapphire or ruby [2]) pierced with holes to serve as guides for the pins. The moving portion of the printer is called the print head, and when running the printer as a generic text device generally prints one line of text at a time. Most dot matrix printers have a single vertical line of dot-making equipment on their print heads; others have a few interleaved rows in order to improve dot density.

The first dot-matrix printers were invented in Japan.[68] In 1968, Japanese manufacturer Epson released the EP-101,[69][70] the world's first dot-matrix printer.[68] The same year, Japanese manufacturer OKI introduced the first serial impact dot matrix printer (SIDM), the OKI Wiredot.[71][72][73]

Thermal printer

A thermal printer (or direct thermal printer) produces a printed image by selectively heating coated thermochromic paper, or thermal paper as it is commonly known, when the paper passes over the thermal print head. The coating turns black in the areas where it is heated, producing an image.

Laser printer (1969)

The laser printer, based on a modified xerographic copier, was invented at Xerox in 1969 by researcher Gary Starkweather, who had a fully functional networked printer system working by 1971.[74][75] Laser printing eventually became a multibillion-dollar business for Xerox.

The first commercial implementation of a laser printer was the IBM model 3800 in 1976, used for high-volume printing of documents such as invoices and mailing labels. It is often cited as "taking up a whole room," implying that it was a primitive version of the later familiar device used with a personal computer. While large, it was designed for an entirely different purpose. Many 3800s are still in use.

The first laser printer designed for use with an individual computer was released with the Xerox Star 8010 in 1981. Although it was innovative, the Star was an expensive ($17,000) system that was only purchased by a small number of laboratories and institutions. After personal computers became more widespread, the first laser printer intended for a mass market was the HP LaserJet 8ppm, released in 1984, using a Canon engine controlled by HP software. The HP LaserJet printer was quickly followed by other laser printers from Brother Industries, IBM, and others.

Most noteworthy was the role the laser printer played in popularizing desktop publishing with the introduction of the Apple LaserWriter for the Apple Macintosh, along with Aldus PageMaker software, in 1985. With these products, users could create documents that would previously have required professional typesetting.

Inkjet printer

Inkjet printers are a type of computer printer that operates by propelling tiny droplets of liquid ink onto paper.

Dye-sublimation printer

A dye-sublimation printer (or dye-sub printer) is a computer printer which employs a printing process that uses heat to transfer dye to a medium such as a plastic card, printer paper or poster paper. The process is usually to lay one color at a time using a ribbon that has color panels. Most dye-sublimation printers use CMYO colors which differs from the more recognised CMYK colors in that the black dye is eliminated in favour of a clear overcoating. This overcoating (which has numerous names depending on the manufacturer) is effectively a thin laminate which protects the print from discoloration from UV light and the air while also rendering the print water-resistant. Many consumer and professional dye-sublimation printers are designed and used for producing photographic prints.

Digital press (1993)

Digital printing is the reproduction of digital images on a physical surface, such as common or photographic paper or paperboard-cover stock, film, cloth, plastic, vinyl, magnets, labels etc.

It can be differentiated from litho, flexography, gravure or letterpress printing in many ways, some of which are;

  • Every impression made onto the paper can be different, as opposed to making several hundred or thousand impressions of the same image from one set of printing plates, as in traditional methods.
  • The Ink or Toner does not absorb into the substrate, as does conventional ink, but forms a layer on the surface and may be fused to the substrate by using an inline fuser fluid with heat process (toner) or UV curing process (ink).
  • It generally requires less waste in terms of chemicals used and paper wasted in set up or makeready (bringing the image "up to color" and checking position).
  • It is excellent for rapid prototyping, or small print runs which means that it is more accessible to a wider range of designers and more cost effective in short runs.

Frescography (1998)

Comersee Spalier rgb
With CAM-program created Frescography
Screenshot of a CAM program for designing frescographies.

Frescography is a method for reproduction/creation of murals using digital printing methods, invented in 1998 by Rainer Maria Latzke, and patented in 2000. The frescography is based on digitally cut-out motifs which are stored in a database. CAM software programs then allow to enter the measurements of a wall or ceiling to create a mural design with low resolution motifs. Since architectural elements such as beams, windows or doors can be integrated, the design will result in an accurately and tailor-fit wall mural. Once a design is finished, the low resolution motifs are converted into the original high resolution images and are printed on canvas by Wide-format printers. The canvas then can be applied to the wall in a wall-paperhanging like procedure and will then look like on-site created mural.

3D printing

Three-dimensional printing is a method of converting a virtual 3D model into a physical object. 3D printing is a category of rapid prototyping technology. 3D printers typically work by 'printing' successive layers on top of the previous to build up a three dimensional object. 3D printers are generally faster, more affordable and easier to use than other additive fabrication technologies.[76]

Technological developments


Woodcut is a relief printing artistic technique in printmaking in which an image is carved into the surface of a block of wood, with the printing parts remaining level with the surface while the non-printing parts are removed, typically with gouges. The areas to show 'white' are cut away with a knife or chisel, leaving the characters or image to show in 'black' at the original surface level. The block is cut along the grain of the wood (unlike wood engraving where the block is cut in the end-grain). In Europe beechwood was most commonly used; in Japan, a special type of cherry wood was popular.

Woodcut first appeared in ancient China. From 6th century onward, woodcut icons became popular and especially flourished in Chinese Buddhism. Since the 10th century, woodcut pictures appeared as illustrations in Chinese books, on banknotes such as Jiaozi (currency), and as single sheet images. Woodcut New Year pictures are also very popular with the Chinese.

In China and Tibet printed images mostly remained tied as illustrations to accompanying text until the modern period. The earliest woodblock printed book, the Diamond Sutra contains a large image as frontispiece, and many Buddhist texts contain some images. Later some notable Chinese artists designed woodcuts for books, the individual print develop in China in the form of New Year picture as an art-form in the way it did in Europe and Japan.

In Europe, woodcut is the oldest technique used for old master prints, developing about 1400, by using on paper existing techniques for printing on cloth. The explosion of sales of cheap woodcuts in the middle of the century led to a fall in standards, and many popular prints were very crude. The development of hatching followed on rather later than in engraving. Michael Wolgemut was significant in making German woodcut more sophisticated from about 1475, and Erhard Reuwich was the first to use cross-hatching (far harder to do than in engraving or etching). Both of these produced mainly book-illustrations, as did various Italian artists who were also raising standards there at the same period. At the end of the century Albrecht Dürer brought the Western woodcut to a level that has never been surpassed, and greatly increased the status of the single-leaf (i.e. an image sold separately) woodcut.


Engraving is the practice of incising a design onto a hard, flat surface, by cutting grooves into it. The result may be a decorated object in itself, as when silver, gold or steel are engraved, or may provide an intaglio printing plate, of copper or another metal, for printing images on paper, which are called engravings. Engraving was a historically important method of producing images on paper, both in artistic printmaking, and also for commercial reproductions and illustrations for books and magazines. It has long been replaced by photography in its commercial applications and, partly because of the difficulty of learning the technique, is much less common in printmaking, where it has been largely replaced by etching and other techniques. Other terms often used for engravings are copper-plate engraving and Line engraving. These should all mean exactly the same, but especially in the past were often used very loosely to cover several printmaking techniques, so that many so-called engravings were in fact produced by totally different techniques, such as etching.

In antiquity, the only engraving that could be carried out is evident in the shallow grooves found in some jewellery after the beginning of the 1st Millennium B.C. The majority of so-called engraved designs on ancient gold rings or other items were produced by chasing or sometimes a combination of lost-wax casting and chasing.

In the European Middle Ages goldsmiths used engraving to decorate and inscribe metalwork. It is thought that they began to print impressions of their designs to record them. From this grew the engraving of copper printing plates to produce artistic images on paper, known as old master prints in Germany in the 1430s. Italy soon followed. Many early engravers came from a goldsmithing background. The first and greatest period of the engraving was from about 1470 to 1530, with such masters as Martin Schongauer, Albrecht Dürer, and Lucas van Leiden.


Etching is the process of using strong acid or mordant to cut into the unprotected parts of a metal surface to create a design in intaglio in the metal (the original process—in modern manufacturing other chemicals may be used on other types of material). As an intaglio method of printmaking it is, along with engraving, the most important technique for old master prints, and remains widely used today.


Halftone is the reprographic technique that simulates ones it is continuous tone imagery through the use of equally spaced dots of varying size.[77] 'Halftone' can also be used to refer specifically to the image that is produced by this process.[77]

The idea of halftone printing originates from William Fox Talbot. In the early 1850s he suggested using "photographic screens or veils" in connection with a photographic intaglio process.[78]

Several different kinds of screens were proposed during the following decades, but the first half-tone photo-engraving process was invented by Canadians George-Édouard Desbarats and William Leggo Jr.[79] On October 30, 1869, Desbarats published the Canadian Illustrated News which became the world's first periodical to successfully employ this photo-mechanical technique; featuring a full page half-tone image of His Royal Highness Prince Arthur, from a photograph by Notman.[3] Ambitious to exploit a much larger circulation, Debarats and Leggo went to New York and launched the New York Daily Graphic in March 1873, which became the world's first illustrated daily.

The first truly successful commercial method was patented by Frederic Ives of Philadelphia in 1881.[78][80] But although he found a way of breaking up the image into dots of varying sizes he did not make use of a screen. In 1882 the German George Meisenbach patented a halftone process in England. His invention was based on the previous ideas of Berchtold and Swan. He used single lined screens which were turned during exposure to produce cross-lined effects. He was the first to achieve any commercial success with relief halftones.[78]


Xerography (or electrophotography) is a photocopying technique developed by Chester Carlson in 1938 and patented on October 6, 1942. He received U.S. Patent 2,297,691 for his invention. The name xerography came from the Greek radicals xeros (dry) and graphos (writing), because there are no liquid chemicals involved in the process, unlike earlier reproduction techniques like cyanotype.

In 1938 Bulgarian physicist Georgi Nadjakov found that when placed into electric field and exposed to light, some dielectrics acquire permanent electric polarization in the exposed areas.[4] That polarization persists in the dark and is destroyed in light. Chester Carlson, the inventor of photocopying, was originally a patent attorney and part-time researcher and inventor. His job at the patent office in New York City required him to make a large number of copies of important papers. Carlson, who was arthritic, found this a painful and tedious process. This prompted him to conduct experiments with photoconductivity. Carlson experimented with "electrophotography" in his kitchen and in 1938, applied for a patent for the process. He made the first "photocopy" using a zinc plate covered with sulfur. The words "10-22-38 Astoria" were written on a microscope slide, which was placed on top of more sulfur and under a bright light. After the slide was removed, a mirror image of the words remained. Carlson tried to sell his invention to some companies, but because the process was still underdeveloped he failed. At the time multiple copies were made using carbon paper or duplicating machines and people did not feel the need for an electronic machine. Between 1939 and 1944, Carlson was turned down by over 20 companies, including IBM and GE, neither of which believed there was a significant market for copiers.

See also


  1. ^ Ghosh, Pallab. "Cave paintings change ideas about the origin of art". BBC News. BBC News. "The minimum age for (the outline of the hand) is 39,900 years old, which makes it the oldest hand stencil in the world," said Dr Aubert. "Next to it is , and this is one of the oldest figurative depictions in the world, if not the oldest one," he told BBC News. There are also paintings in the caves that are around 27,000 years old, which means that the inhabitants were painting for at least 13,000 years."
  2. ^ Pike, A. W. G.; Hoffmann, D. L.; García-Diaz, M.; Pettitt, P. B.; Alcolea, J.; De Balbín, R.; González-Sainz, C.; de las Heras, C.; Lasheras, J. A.; Montes, R.; Zilhão, J. (15 June 2012). "U-Series Dating of Paleolithic Art in 11 Caves in Spain". Science. 336 (6087): 1409–1413. doi:10.1126/science.1219957. PMID 22700921. Abstract: "... minimum ages of 40.8 thousand years for a red disk, 37.3 thousand years for a hand stencil, and 35.6 thousand years for a claviform-like symbol".
  3. ^ Mayor, Hyatt A., Prints and People, Metropolitan Museum of Art/Princeton, 1971, no. 51, 65, 80, ISBN 0691003262
  4. ^ Mayor, Hyatt A., Prints and People, Metropolitan Museum of Art/Princeton, 1971, no. 15, ISBN 0691003262
  5. ^ a b c Wilkinson 2012, p. 909.
  6. ^ a b c d e f g h i j k Wilkinson 2012, p. 910.
  7. ^ "History of Printing Timeline". American Printing History Association: To Encourage the Study of Printing History. Retrieved 22 December 2015.
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  10. ^ Barrett 2008, p. 61.
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  14. ^ https://digital.lib.washington.edu/researchworks/bitstream/handle/1773/24231/Hyun_washington_0250E_12384.pdf?sequence=1 p. 191.
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  18. ^ Chia 2011, p. 21.
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  22. ^ "Dunhuang concertina binding findings". Archived from the original on 2000-03-09. Retrieved 2000-03-09. Check date values in: |accessdate= (help)CS1 maint: BOT: original-url status unknown (link)
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  • Barrett, Timothy Hugh (2008), The Woman Who Discovered Printing, Great Britain: Yale University Press, ISBN 978-0-300-12728-7 (alk. paper)
  • Chia, Lucille (2011), Knowledge and Text Production in an Age of Print: China, 900-1400, Brill
  • Tsien, Tsuen-Hsuin (1985), Paper and Printing, Needham, Joseph Science and Civilization in China:, vol. 5 part 1, Cambridge University Press, ISBN 0-521-08690-6
  • Twitchett, Denis (1998b), The Cambridge History of China Volume 8 The Ming Dynasty, 1368—1644, Part 2, Cambridge University Press
  • Wilkinson, Endymion (2012), Chinese History: A New Manual, Harvard University Asia Center for the Harvard-Yenching Institute
American Antiquarian Society

The American Antiquarian Society (AAS), located in Worcester, Massachusetts, is both a learned society and national research library of pre-twentieth century American history and culture. Founded in 1812, it is the oldest historical society in the United States with a national focus. Its main building, known as Antiquarian Hall, is a U.S. National Historic Landmark in recognition of this legacy. The mission of the AAS is to collect, preserve and make available for study all printed records of what is now known as the United States of America. This includes materials from the first European settlement through the year 1876.The AAS offers programs for professional scholars, pre-collegiate, undergraduate and graduate students, educators, professional artists, writers, genealogists, and the general public. AAS has many digital collections available, including "A New Nation Votes: American Election Returns 1788–1824."The collections of the AAS contain over three million books, pamphlets, newspapers, periodicals, graphic arts materials and manuscripts. The Society is estimated to hold copies of two-thirds of the total books known to have been printed in what is now the United States from the establishment of the first press in 1640 through the year 1820; many of these volumes are exceedingly rare and a number of them are unique. Historic materials from all fifty U.S. states, most of Canada and the British West Indies are included in the AAS repository. One of the more famous volumes held by the Society is a copy of the very first book printed in America, the Bay Psalm Book. AAS also has one of the largest collections of newspapers printed in America through 1876, with more than two million issues in its collection.

Amulet MS 5236

MS 5236 (inventory number of the Schøyen Collection) is an ancient Greek amulet of the 6th century BC, which is unique in two respects: it is the only known magic amulet of the time inscribed with a text that was stamped as opposed to incised, and it is the only extant specimen of ephesia grammata made of gold. The only partially comprehensible inscription is an invocation of the god Phoebus Apollo and may have been composed in central Greece or western Asia Minor. As such magical amulets are known to have been mass-produced, the existence of MS 5236 indicates that, despite the singularity of the foil, an inkless block printing process was practised in ancient Greece to a certain degree, for texts of some length, beyond the examples known from Roman lead pipe inscriptions and the many types of stamps used to mark bricks and pottery with the maker's name and other details.

Belgrade printing house

The Belgrade printing house was a printing house established by count (Serbian: knez) Radiša Dmitrović in Belgrade, Ottoman Serbia (today the capital of Serbia). It was the first printing house in Belgrade. After Dmitrović's death, the printing house was taken over by Trojan Gundulić, who organized publishing of the first and only book of this printing house, the Gospel, printed and edited in 1552 by Hieromonk Mardarije.

Books in France

As of 2018, five firms in France rank among the world's biggest publishers of books in terms of revenue: Éditions Lefebvre Sarrut, Groupe Albin Michel, Groupe Madrigall, Hachette Livre (including Éditions Grasset), and Martinière Groupe (including Éditions du Seuil). Other major book publishers in the 2010s include Éditions Gallimard.

Color printing

Color printing or colour printing is the reproduction of an image or text in color (as opposed to simpler black and white

or monochrome printing). Any natural scene or color photograph can be optically and physiologically dissected into three primary colors, red, green and blue, roughly equal amounts of which give rise to the perception of white, and different proportions of which give rise to the visual sensations of all other colors. The additive combination of any two primary colors in roughly equal proportion gives rise to the perception of a secondary color. For example, red and green yields yellow, red and blue yields magenta (a purple hue), and green and blue yield cyan (a turquoise hue). Only yellow is counter-intuitive.

Yellow, cyan and magenta are merely the "basic" secondary colors: unequal mixtures of the primaries give rise to perception of many other colors all of which may be considered "tertiary."

Crnojević printing house

The Crnojević printing house (Serbian: Штампарија Црнојевића) or Cetinje printing house (Цетињска штампарија), was the first printing house in Southeastern Europe; the facility operated between 1493 and 1496 in Cetinje, Zeta (modern Montenegro).It was founded by Đurađ Crnojević, the ruler of Zeta between 1490 and 1496. The printing press was operated by Serbian Orthodox monks at the supervision of hieromonk Makarije. The Crnojević printing press was also the first state press in the world. Five Orthodox liturgical books were printed in this printshop: Oktoih Prvoglasnik, Oktoih Petoglasnik, Psaltir, Trebnik (Molitvenik) and Cvetni Triod.

Octoechos of the First Tone (Oktoih provglasnik) is the first book printed in the Cyrillic script among the South Slavs. It was finished on 4 January 1494. There are 108 copies of this book existing. It contains 270 leaves sized 29 x 21,6 cm. It is characterized by high quality and clean two-coloured printing, red and black, with nicely shaped letters. It is decorated with headpieces and initials printed from woodcuts in the spirit of the Renaissance with traces of old manuscript traditions.

Octoechos of the Fifth Tone (Oktoih petoglasnik) represents the first illustrated South Slavic incunabulum. It is preserved in fragments, the longest one containing 37 leaves. It has six woodcut illustrations, made by an artist who managed to put rather complex compositions with many characters on a relatively small space.

Psalter with Additions (Psaltir s posledovanjem) was printed in 1495. It is not only of liturgical and conventional but also historical and literary significance. It is decorated with three headpieces and 27 initials repeated for 221 time. There are 36 complete and partial copies preserved. The National Library of Montenegro "Djurdje Crnojevic" published 650 facsimiles of the psalter in 1986.

History of printing in East Asia

Printing in East Asia evolved from ink rubbings made on paper or cloth from texts on stone tables in China during the Han dynasty (206 BC – 220 CE). Mechanical woodblock printing on paper started in China during the Tang dynasty before the 8th century CE. The use of woodblock printing quickly spread to other East Asian countries. While the Chinese used only clay and wood movable type at first, use of metal movable type was pioneered in Korea by the 13th century. The Western-style printing press became known in East Asia by the 16th century but was not fully adopted until centuries later.

Johannes Gutenberg

Johannes Gensfleisch zur Laden zum Gutenberg (; c. 1400 – February 3, 1468) was a German blacksmith, goldsmith, inventor, printer, and publisher who introduced printing to Europe with the printing press. His introduction of mechanical movable type printing to Europe started the Printing Revolution and is regarded as a milestone of the second millennium, ushering in the modern period of human history. It played a key role in the development of the Renaissance, Reformation, the Age of Enlightenment, and the scientific revolution and laid the material basis for the modern knowledge-based economy and the spread of learning to the masses.Gutenberg in 1439 was the first European to use movable type. Among his many contributions to printing are: the invention of a process for mass-producing movable type; the use of oil-based ink for printing books; adjustable molds; mechanical movable type; and the use of a wooden printing press similar to the agricultural screw presses of the period. His truly epochal invention was the combination of these elements into a practical system that allowed the mass production of printed books and was economically viable for printers and readers alike. Gutenberg's method for making type is traditionally considered to have included a type metal alloy and a hand mould for casting type. The alloy was a mixture of lead, tin, and antimony that melted at a relatively low temperature for faster and more economical casting, cast well, and created a durable type.

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—including 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 people 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.

The use of movable type was a marked improvement on the handwritten manuscript, which was the existing method of book production in Europe, and upon woodblock printing, and revolutionized European book-making. Gutenberg's printing technology spread rapidly throughout Europe and later the world.

His major work, the Gutenberg Bible (also known as the 42-line Bible), was the first printed version of the Bible and has been acclaimed for its high aesthetic and technical quality.

Movable type

Movable type (US English; moveable type in British English) is the system and technology of printing and typography that uses movable components to reproduce the elements of a document (usually individual alphanumeric characters or punctuation marks) usually on the medium of paper.

The world's first movable type printing press technology for printing paper books was made of porcelain materials and was invented around 1040 AD in China during the Northern Song Dynasty by the inventor Bi Sheng (990–1051). The oldest extant book printed with movable metal type, Jikji, was printed in Korea in 1377 during the Goryeo dynasty.

Because of this, the diffusion of both movable-type systems was limited primarily to East Asia. The development of the printing press was possibly influenced by various sporadic reports of movable type technology brought back to Europe by returning business people and missionaries to China. Some of these medieval European accounts are still preserved in the library archives of the Vatican and Oxford University among many others. However, direct evidence that Gutenberg was influenced by Asian printing is lacking: "No text indicates the presence or knowledge of any kind of Asian movable type or movable type imprint in Europe before 1450. The material evidence is even more conclusive."Around 1450, Johannes Gutenberg introduced the metal movable-type printing press in Europe, along with innovations in casting the type based on a matrix and hand mould. The small number of alphabetic characters needed for European languages was an important factor. Gutenberg was the first to create his type pieces from an alloy of lead, tin, and antimony—and these materials remained standard for 550 years.For alphabetic scripts, movable-type page setting was quicker than woodblock printing. The metal type pieces were more durable and the lettering was more uniform, leading to typography and fonts. The high quality and relatively low price of the Gutenberg Bible (1455) established the superiority of movable type in Europe and the use of printing presses spread rapidly. The printing press may be regarded as one of the key factors fostering the Renaissance and due to its effectiveness, its use spread around the globe.

The 19th-century invention of hot metal typesetting and its successors caused movable type to decline in the 20th century.

Mrkšina crkva printing house

The Mrkšina crkva printing house (Serbian: Штампарија Манастира Мркшина Црквa; Мркшиначка штампарија) was a printing house established in 1562 in the Monastery of Mrkšina Crkva in village Kosjerić in Ottoman Serbia (today a town in Serbia). This printing house was operational until 1566 and printed two srbulje books, The Four Gospels (Четворојеванђеље) in 1562 and The Flower Triod (Триод Цветни) in 1566. In 1567 the Ottomans destroyed the church and its printing house.

Musée de l'Imprimerie

The Musée de l'Imprimerie is a museum in Lyon, France, with the mission of enhancing, conserving, documenting and valuing the heritage of printed books and graphic arts.

The museum was inaugurated in 1964. In 2006 the Grand Guide Michelin France awarded it two stars out of three and in 2007, the museum had 16,819 visitors.

Newberry Library

The Newberry Library is an independent research library, specializing in the humanities and located on Washington Square in Chicago, Illinois. It has been free and open to the public since 1887. Its collections encompass a variety of topics related to the history and cultural production of Western Europe and the Americas over the last six centuries. The Library is named to honor the founding bequest from the estate of philanthropist Walter Loomis Newberry. Core collection strengths support research in several subject areas, including maps, travel, and exploration; music from the Renaissance to the early twentieth century; early contact between Western colonizers and Indigenous peoples in the Western Hemisphere; the personal papers of twentieth-century American journalists; the history of printing; and genealogy and local history.

Although the Newberry is a noncirculating library, it welcomes researchers into the reading rooms who are at least 14 years old or in the ninth grade, and have a research topic corresponding to the nature of the collections. Additional public services are offered through exhibitions, meet-the-author lectures, adult education seminars, and other programming.


Printing is a process for reproducing text and images using a master form or template. The earliest non-paper products involving printing include cylinder seals and objects such as the Cyrus Cylinder and the Cylinders of Nabonidus. The earliest known form of printing as applied to paper was woodblock printing, which appeared in China before 220 AD. Later developments in printing technology include the movable type invented by Bi Sheng around 1040 AD and the printing press invented by Johannes Gutenberg in the 15th century. The technology of printing played a key role in the development of the Renaissance and the scientific revolution, and laid the material basis for the modern knowledge-based economy and the spread of learning to the masses.

Printing in Tamil language

The introduction and early development of printing in South India is attributed to missionary propaganda and the endeavours of the British East India Company. Among the pioneers in this arena, maximum attention is claimed by the Jesuit missionaries, followed by the Protestant Fathers and Hindu Pandits. Once the immigrants realized the importance of the local language, they began to disseminate their religious teachings through that medium, in effect ushering in the vernacular print culture in India. The first Tamil booklet was printed in 1554 (February 11) in Lisbon - Cartilha em lingoa Tamul e Portugues in Romanized Tamil script by Vincente de Nazareth, Jorge Carvalho and Thoma da Cruz, all from the Paravar community of Tuticorin. it is also the first non-European language to find space in the modern printing culture in the world.

These developments took place at a time when other locations such as Madurai were still confined to the use of copper plates and stone inscriptions. This book was printed earlier than the first printed and dated books of Russia (1563), Africa (1624) and Greece (1821).

Recuyell of the Historyes of Troye

Recuyell of the Historyes of Troye or Recueil des Histoires de Troye (1464) is a translation by William Caxton of a French courtly romance written by Raoul Lefèvre, chaplain to Philip III, Duke of Burgundy. It was the first book printed in the English language.

Recuyell (recueil in Modern French) simply means "collection" in English. Hence, the work in Modern English would read "A Collection of the Histories of Troy". Caxton's translations and sometimes his titles incorporated words from other European languages.Caxton, probably with the assistance of Colard Mansion and Johann Veldener, printed his translation in 1473 or 1474 (traditionally "ca. 1475") in Bruges. Just 18 copies still exist, and when the Duke of Northumberland sold one in 2014, it fetched more than £1 million.A presentation copy of the first edition with a specially made engraving showing Caxton presenting the book to Margaret of York is now in the Huntington Library, California, having previously been in the collections of the Duke of Roxburghe and the Duke of Devonshire. This royal "patronage" may have been more a form of advertising than a representation of traditional medieval patronage relationships.The English translation forms the source for the late Tudor morality play Horestes (1567).

Reverse-contrast typefaces

A reverse-contrast letterform is a typeface or custom lettering in which the stress is reversed from the norm: instead of the vertical lines being the same width or thicker than horizontals, which is normal in Latin-alphabet writing and especially printing, the horizontal lines are the thickest. The result is a dramatic effect, in which the letters seem to have been printed the wrong way round. Originally invented in the early nineteenth century as attention-grabbing novelty display designs, modern font designer Peter Biľak, who has created a design in the genre, has described them as "a dirty trick to create freakish letterforms that stood out."Reverse-contrast letters are rarely used for body text, being more used in display applications such as headings and posters, in which the unusual structure may be particularly eye-catching. They were particularly common in the nineteenth century, and have been revived occasionally since then. They could be considered as slab serif designs because of the thickened serifs, and are often characterised as part of that genre.

The reverse-contrast effect has been extended to other kinds of typeface, such as sans-serif designs and designs more suitable for extended text passages. The design style, also known as "reverse-stroke" or "horizontal-stress", has no connection to reverse-contrast printing, where light text is printed on a black background.

Subiaco Press

The Subiaco Press was a printing press located in Subiaco, Italy. The Press was established in 1464 by the German monks Arnold Pannartz and Konrad Sweinheim in the Abbey of Santa Scolastica at Subiaco. It was the first printing press in Italy.

The first book printed at Subiaco was a Donatus; it has not been preserved. This was followed by Cicero's De Oratore in September 1465 (which is extant - a copy is in the Buchgewerbehaus at Leipzig). The next book was Lactantius's De divinis institutionibus printed in October 1465. In 1467, Augustine's The City of God was printed. These early books are notable for their typography. Unlike earlier German books, they were not printed in blackletter type. Instead, they were printed in a "half Roman" type, as in Italy there was a desire to use Roman characters. Furthermore, Lactantius's De divinis institutionibus contains the world's first Greek printed characters. These were used for the extensive quotations in Greek which employed mobile letters now called "Subiaco type."

In 1467, Pannartz and Sweinheim left Subiaco and settled in Rome.

The Complaint of the Black Knight

The Complaint of the Black Knight, by the English monk John Lydgate, is the oldest surviving book printed in Scotland, which displays the printing date: 4 April 1508 (see 1508 in poetry). In 2010 it was chosen by UNESCO to become part of its Memory of the World Register.Printed in Edinburgh by Chepman and Myllar, the book was often falsely attributed in Scotland as a work of Geoffrey Chaucer.

Woodblock printing

Woodblock printing (or block printing) is a technique for printing text, images or patterns used widely throughout East Asia and originating in China in antiquity as a method of printing on textiles and later paper. As a method of printing on cloth, the earliest surviving examples from China date to before 220 AD. Woodblock printing existed in Tang China during the 7th century AD and remained the most common East Asian method of printing books and other texts, as well as images, until the 19th century. Ukiyo-e is the best known type of Japanese woodblock art print. Most European uses of the technique for printing images on paper are covered by the art term woodcut, except for the block-books produced mainly in the 15th century in India.

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