Between 1498 and 1514 Albrecht Dürer pushed the woodblock further than anyone before — cross-hatching so dense it approached the tonal range of copperplate engraving. Carbon-black ink on cream rag paper; Schwabacher blackletter on the text page; allegorical objects crowding every corner: compass, hourglass, polyhedron, skull.

This system carries that discipline into screen work. Two pigments (ink and paper) do most of the labour, with vermilion rubrication and gold-ochre illumination reserved for emphasis. Every tone is built from parallel lines, every edge is a hand-cut hairline, every heading is set in Fraktur. The wood remembers everything.