|Incunabula by William Morris (1834-1896)|
Simultaneously, one can see a stylistic development in typeface as such, which has two aspects: the inherent technological advance makes possible a different production of typeface styles as well as the proliferation of regional differences (for example, why is it that Gothic becomes so popular in Germany shortly after Gutenberg where as Rotunda, a similar sharp-cornered yet slightly more rounded script is created in Bologna?).
(as we saw, some designers, such as Ratdolt, who worked in Venice, are good at both) .
We also talked about the book as a kind of architecture. Once we have printers and regional styles, we get a sort of "made in" constant. So we get, incipit, rubrication, border, frame, column, marginalia & illustrations, all aspects of standardization of the profession:
|example of illustration inside the page using metal engraving, copper plates, an intaglio method|
|so-called column, they are explanatory notes around the text of the laws, in fact the type is set so that notes are arranged to surround the text in incunabula|