Get Sharper Relief Prints by Dialling in Your Paper Choice

Paper choice has a bigger impact on relief printing than many people expect. The same carved block can look flat and patchy on one sheet, then rich and crisp on another. The difference often comes down to how that paper handles ink, pressure and a bit of moisture.

When we press inked lino or wood into paper, the fibres respond in their own way. Some papers hug the raised lines, some resist, some soak up ink too quickly. In cooler, drier autumn and winter weather, like we get here in Central Victoria, paper can feel stiffer and thirstier, which changes how it prints.

In this guide, we will walk through the basics of printmaking paper, how to choose weight and sizing, and a few simple pre-damping tests. With a little trial and a few notes, you can match your relief blocks to paper that gives cleaner edges and more even ink every time.

Understanding Printmaking Paper Basics for Relief Work

Printmaking paper is made to cope with pressure, ink, and repeated handling. It often uses long cotton or high-quality wood pulp fibres, so it can bend and stretch a little without tearing. Mould-made papers, formed on a rotating cylinder, tend to have a more natural, even surface than fast machine-made sheets.

Surface texture makes a big difference to the look of your relief prints:

• Smooth: great for fine detail, small text and crisp lines  
• Medium: a good all-rounder for lino and woodcuts  
• Rough: adds character and broken edges, less suited for tiny details  

Many relief printmakers like softer, more absorbent papers. These sheets let the ink sit slightly in the fibres rather than sitting on a hard, sized surface like many watercolour papers. That softness helps the paper wrap gently around your carved lines.

You will see printmaking papers in a few common formats:

• Full sheets: best for editioning and tearing down to custom sizes  
• Pads: handy for classes, quick tests and storage  
• Blocks: glued on the edges, stay flat, useful if you work with wetter methods  
• Japanese-style sheets: usually lighter and strong, perfect for hand-burnished prints  

Each format has its place. For home setups and small presses, a mix of a main favourite sheet and a student pad for tests works well.

Choosing the Right Paper Weight for Crisp, Clean Impressions

Paper weight is measured in gsm, grams per square metre. Pick up different sheets and you will feel the change: light papers feel like thin writing paper, medium weights like nice drawing paper, and heavy papers feel closer to cardstock.

For relief printing, some common ranges are:

• Around 70, 90 gsm: very flexible, good for hand-burnished lino or wood, especially on Japanese-style papers  
• Around 250 t 300 gsm: sturdy enough for presses, multiple layers and hand colouring  

Lighter papers:

• Conform easily to small cuts and fine textures  
• Pick up detail well when you print by hand  
• Can crease or dent more easily and need gentle handling  

Heavier papers:

• Feel more solid in the hand and store well in editions  
• Cope better with layering, hand colouring and mixed media  
• May need more pressure or light pre-damping to pick up every line  

In cooler months, heavier sheets can stay slightly damp for longer after printing. Give them space to dry flat, and avoid stacking too many fresh prints so you do not get cockling or offset ink.

Paper Sizing and Absorbency for Even Ink Transfer

Sizing refers to a variety of different chemical additives that control how thirsty and stable your paper is. Internal sizing is mixed into the pulp, while surface sizing sits on the outside. Together they decide how fast water or ink sinks in.

For oil-based block inks, unsized or lightly sized printmaking paper often works well. The ink sits partly in the fibres, which gives deep, rich blacks without spreading too far. Heavily sized papers, like many made for watercolour, are designed to keep wet washes on the surface for longer, which is not generally what you want for relief work.

Different levels of sizing change how ink behaves:

• Little sizing: fast absorbency, strong blacks, but can risk fuzzy edges is more than just a little damp  
• Moderate sizing: a balance of sharp lines and even tone  
• Heavy sizing: ink sits on top, can look shiny or patchy if the surface is too hard  

You can run a few quick tests at your table:

1. Water droplet test: place a drop of water on the paper and observe…

• •   Beads on top for a while: heavily sized  
  •   Slow soak with a slight ring: light to moderate sizing  
  •   Fast soak with spreading: very absorbent, light or no sizing  

2. Swipe of diluted ink or watercolour: look for feathering at the edges - more feathering equals less sizing

3. Draw a fine line and see if it stays crisp or softens out - the crisper it is the more sized it is. NB hot pressed papers (ie smooth and dense) with holder crisper lines regardless of sizing.

These small checks help you predict how your block ink will behave.

Simple Pre-Damping Tests for Smoother, Stronger Relief Prints

Pre-damping means adding a little controlled moisture so the paper relaxes and receives ink more evenly. In dry autumn and winter air, this can make a clear difference in solid blacks and smooth gradients.

Safe pre-damping methods for home setups include:

• Lightly misting both sides with clean water from a spray bottle  
• Sandwiching sheets between slightly damp blotting paper  
• Stacking the dampened paper and resting it in a clean plastic bag so moisture spreads evenly  

Try a simple test session:

1. Ink your block as you usually do.  
2. Print one sheet completely dry.  
3. Print another that is lightly damp, letting it rest a few minutes after misting.  
4. Compare:  

• Edge sharpness in fine lines  
• Coverage in big solid areas  
• Any stretching or buckling  

A few cautions help avoid problems:

• Do not over-wet, or you may see fuzzy edges and even tearing under pressure  
• Expect some expansion, especially with lighter papers, so leave wider margins if you are tight on registration  
• Let the paper relax in a stack before printing, so any surface damp patches even out  

Once you find the sweet spot for your favourite sheet, note how it feels in your hands so you can repeat it.

Testing, Tearing and Storing Paper for Reliable Results

The best way to learn how a printmaking paper behaves is to test it. We suggest starting with a few types in small amounts instead of a big stack of one unknown sheet.

A simple testing routine might include:

• Tearing full sheets down with a metal ruler for deckled edges  
• Labelling offcuts with the paper name, weight and texture  
• Using these offcuts to trial:  
  •   Different ink brands or bases  
  •   Press vs hand burnishing  
  •   Dry vs damp printing  

Keep notes on:

• Paper name and gsm  
• Ink type and colour  
• Printing method, such as spoon, baren or press  
• Weather conditions, for example very dry or quite humid  
• Which combo gave you the cleanest lines and most even tone  

Good storage helps keep paper ready for consistent printing, especially in cooler Central Victorian months. Store sheets:

• Flat, on a clean shelf or in a plan drawer  
• Away from direct heaters or strong sunlight  
• With clean interleaving sheets between nicer papers  

This way, your favourite printmaking paper will respond the same way from the first test print to the last print in an edition.

Get Started With Your Project Today

If you are ready to experiment with new textures and techniques, we are here to help you choose the right printmaking paper for your style and press. At Art Supplies Castlemaine, we stock carefully selected ranges suited to beginners and experienced printmakers alike. Drop in or reach out with your questions so we can talk through sizing, weights and finishes that suit your process. If you would like tailored advice before you buy, simply contact us and we will help you plan your next print run.