Start with a paper that forgives first mistakes
For the first pulls, use a paper that can take a bit of pressure without splitting or showing every weak corner in the carving. A medium weight sheet, usually around 90 gsm to 150 gsm for hand printing, gives enough strength for repeated proofing while still letting you see the image clearly. Smooth cartridge, lightweight printmaking paper or decent office-style paper can all work for the earliest checks, especially when you are only testing line quality, ink coverage and the bite of the cut.
In workshops we often keep proof paper separate from final edition paper. That saves the better sheets for the stage where the block is ready and the marks are settled. If the image is still changing, there is no point using your finest paper too soon, particularly when you are adjusting a first lino block or refining a soft-cut design.
- Use heavier sketch or cartridge paper for rough tests
- Keep a stack of plain sheets for carving checks and registration trials
- Mark proof sheets clearly so they do not mix with final edition paper
- Test one colour at a time before building a full image
What proof paper should show you before the final run
A good proof paper should reveal the block without fighting it. If the fibres lift too much, you will not see whether the gouge marks are clean or whether the brayer has missed a corner. If the sheet is too thin, it may buckle, blur or stretch when you lift it from the block. A proof tells you plainly what the block and the ink are doing.
Look for paper that shows both the relief and the pressure pattern. On a first proof, you want to see if the raised areas are printing solidly and whether the recessed parts stay clean. A slightly off-white or cream paper is often easier to read than bright white, because it gives the ink some body and makes small flaws easier to spot.
- Check for even ink transfer across the full block
- Watch for dry patches where the roller missed a raised area
- Look at the edge of the image for blur or over-inking
- Use the proof to confirm the block is ready for edition printing
Paper choices for lino, soft-cut and mixed student blocks
Lino and soft-cut blocks behave differently, so the paper needs to suit the material as much as the image. A sharp lino cut can carry a finer proof sheet, because the edges are usually cleaner and the surface takes pressure evenly. Soft-cut blocks may need a slightly tougher sheet for proofing, as the surface can compress more easily and show handling marks from the brayer or press.
For student work, families and mixed groups, we often keep three types of paper on hand: a light proof sheet, a sturdier intermediate sheet and the final paper. That gives space for testing without wasting the best stock. Handmade papers, cotton-rich papers and smooth printmaking sheets all have their place, but the first question is always the same, can the sheet show the block clearly enough for the next decision.
- Use smoother paper for fine line work and small marks
- Choose sturdier sheets when the block has a lot of open carving
- Keep handmade or textured papers for later proofs, not the first test
- Match the paper to the pressure used on the press or with a baren
Test ink, pressure and registration before the edition sheets go out
Proofing paper is where you settle the practical bits. Water-based ink usually shows up more quickly on absorbent proof sheets, so it is useful for checking coverage and drying behaviour. Oil-based block ink may sit on the surface a little longer, which helps when you want time to work with colour or pressure, but it also means the paper must be able to handle a firmer pull without marking up.
Registration is easier to assess on plain proof paper, because the image is not competing with texture or colour in the sheet. Use the proof stage to check alignment marks, paper placement and repeat printing. If the block is being printed by hand with a baren, the proof paper should make uneven pressure obvious. If you are using a press, the sheet should show whether the packing, blankets and pressure are set correctly.
- Print a corner registration mark before the full image
- Try one proof with lighter pressure and one with firm pressure
- Check how the paper reacts after lifting from the block
- Keep notes on ink mix, pressure and paper type for each proof
When a proof sheet has done its job
A proof sheet has done its job when it tells you what still needs changing. If the image is clear, the line work is clean and the ink sits the way you want, you can move to the final paper with confidence. If not, the proof stays on the wall or in the file and the block goes back to the carving bench. That is part of the process.
For edition printing, the final paper should feel deliberate rather than experimental. It may be thicker, smoother or more absorbent than the proof sheet, depending on the effect you want. Keep the proof alongside the block notes so the next stage has a record of what worked. In a busy studio, that habit saves time and keeps the edition consistent across repeated pulls.
- Retire proof sheets once the block is settled
- Use the strongest proof only as your reference copy
- Choose final paper after the image is already stable
- File proof notes with the block, inks and edition count
Proofing at studio tables and workshop trays
Before you print the final sheet, check the paper, the block and the surface you are working on. Proofing is easier when the paper is cut cleanly, stored flat and free from damp edges. Even a small curl can affect registration, especially in humid coastal air where paper picks up movement quickly. In Cape Town and other coastal areas, keeping proof sheets in a dry flat stack helps more than people expect.
Check these points before moving on to the final paper. It keeps the workflow tidy and gives every print a fair first test.
- Is the proof paper flat, clean and cut to size
- Have you tested the block with one light proof first
- Are the registration marks visible and steady
- Does the ink coverage match the result you want
- Have you kept the proof separate from final edition paper
Once those answers are settled, the final sheet can do its proper work. Proof paper is there to catch the mistakes before they reach the edition, and that is usually the best use of any early print.
