Connecticut, Proclamation, 1783

If you look closely at this broadside, you might see that the text at the top and bottom have light shadows---a faint double impression caused by an accidental bounce of the paper on the inked type

Coronelle Romaine, matrices

These are matrices---the pieces of copper that are the molds used to produce pieces of type---used for the typeface Coronelle Romaine. If you zoom in, you can see the nicks at the bottom of the matrices used to orient them in the mold and the individual letter forms, as well as ligatures (joined letters), numbers, and assorted other characters. Stamps made to illustrate this typeface can be seen here.

Coronelle Romaine, stamps

These stamps illustrate the forms of individual sorts of the typeface Coronelle Romaine, designed by Hendrik van den Keere in the early 1570s. You can see the matrices for casting these sorts here.

Coronelle Romaine, unjustified matrices

These matrices have not yet been justified: they've been struck with the various letterforms and glyphs, but the resulting pieces of copper haven't been made uniform and ready to use. If you compare these matrices with the finished ones, you can easily see the difference.

Dodoens, Cruydt boeck, 1618 (Y4v)

In this Dutch version of Dodoens herbal, the same woodblock from the first edition is again used to illustrate the corn-cockle. It looks smaller here because this edition is formatted as a folio rather than an octavo.

Dodoens, Florum, 1568 (A1r)

Christopher Plantin's printer's device illustrates his motto, "Constantia et Labore" ("Perseverance and Work") with a compass, the fixed point of which represents the constancy of perseverance and the outer point representing labor.

Dodoens, Florum, 1568 (C8v)

This illustration of a corn-cockle is printed with a woodblock now owned by the Museum Plantin-Moretus and

Donne, Juvenilia, 1633 (F1v, raking light)

Imaged under a raking light, this blank page reveals a great deal more texture than images usually do, including wrinkled (or cockled) paper, vertical wire lines, the bite of type as it pushes out the paper from the other side, and the bite into the paper from some uninked (or blind) type in the middle of the page ("These eleven Paradoxes"). Some copies of this edition have this imprimatur inked and legible; others, like this one, seem not to have included it, although the type was clearly left in the forme even if it didn't print. (Compare this image to the one under usual flat lighting to see how different lighting shapes what we see.)

Donne, Juvenilia, 1633 (F1v)

This blank page is surprisingly busy. There's ink bleeding through from the other side (you can see the running title "PARADOXES" at the top and the signature mark "F" at the bottom of the page) but there's also offset from the facing page ("PROBLEMS", the title of the next section). It can sometimes be hard to tell the difference between bleed-through and offset in digital images if you can't also see the facing page, but one clue is to look for different colored ink. But if you look at this page under raking light, you'll see there's even more going on than is apparent in this image.

Dove, A new almanack, 1631 (A1r)

Since almanacs featured the location of astrological bodies, they were most accurate for specific geographical locations. This title page for Dove specifies that it is calculated for Cambridge. The use of red ink was typical for almanacs, both on the title page and in the content.