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These were genres that relied heavily on the illustrative potential of the woodcut, but they were not for that reason more popular genres.
The accompanying text explains the implications of the woodcut image to a reader or to one who hears it read.
The illustrations are limited to a sporadic simple woodcut.
The development of print is key here, since the new media of woodcuts and engraving were at the heart of this transformation.
The woodcut is overlaid with inscriptions and toponyms that play with the viewer's perception of surface and depth.
The second and third editions, of 1497 and c. 1497, used the same woodcut for the title page as the 1496 edition.
It would have been more interesting still if the author or publisher had provided notes on the origins of these unusual woodcuts and line drawings.
We find it equally applicable to generating more abstract hatch patterns, such as those employed in woodcut illustrations and other forms of print-making.
Sixteenth century woodcuts show methods of facial reconstruction similar to those in use today.
Within the 1641 frontispiece, the woodcut emerges not simply as a convenient method of reproduction and imitation, but as a distinctive creative form in its own right.
Through repetition - both the practice of copying models and widespread circulation in woodcuts and engravings - a range of ideas could be distilled into a visual image.
The same can be said of the 'morti' who carry scythes in the woodcut and the descriptions.
Woodcuts are concrete if that is possible, but a typeface is in the shape of letters, figures and the light on the page itself.
One might possibly suggest that a woodcut was a very big bit of typeface.
It is only woodcuts—offcuts—not properly recycled paper.
