6 Best Archival Papers For Relief Printing Worth Using

Selecting the right paper for relief printing is much like choosing the perfect yarn for a complex lace shawl; the fiber content, texture, and structural integrity dictate the success of the final outcome. Just as a slippery silk blend requires a needle with more grip to prevent dropped stitches, a print block demands a paper surface that balances ink receptivity with mechanical durability. Understanding these archival options ensures that the time invested in carving a block is matched by the longevity of the finished print. This guide breaks down the essential archival papers that provide reliable, professional results for every skill level.

Stonehenge Paper: The Versatile All-Rounder

Stonehenge is widely considered the workhorse of the printmaking world, much like a reliable worsted-weight Peruvian highland wool that performs well across various projects. Its smooth, grain-free surface allows for consistent ink transfer, making it an excellent starting point for those new to relief printing.

The paper is made from 100% cotton, which provides the necessary archival stability to prevent yellowing or degradation over time. Because it is relatively affordable and forgiving, it functions as a perfect test sheet for perfecting registration before moving to more expensive materials.

For those who experiment with multiple mediums, Stonehenge handles light watercolor washes or graphite sketching alongside ink without buckling significantly. If the goal is a balance between affordability and professional archival quality, this paper remains the top recommendation.

Rives BFK: The Printmaker’s Professional Choice

Rives BFK is the standard-bearer for fine art prints, often compared to a premium cashmere-merino blend that provides unparalleled luxury and drape. This mould-made paper possesses a subtle, velvety surface that grabs ink with precision while maintaining a soft, supple hand.

Its internal sizing allows it to withstand multiple passes through a press without losing its structural integrity. When a print requires the subtle nuances of fine line work or dense, velvety blacks, the absorbency of Rives BFK ensures the ink sits beautifully within the fibers rather than merely resting on top.

Keep in mind that its softness can be a double-edged sword; it requires careful handling to avoid accidental creases or surface marring. Treat it with the same respect as a delicate mohair lace project, and the results will reward the extra care.

Hahnemühle Copperplate: For Finest Line Detail

Hahnemühle Copperplate is engineered specifically for those who prioritize crisp, sharp lines, much like using a high-twist fingering weight yarn to define intricate cable motifs. Its surface is slightly harder and tighter than other archival papers, which prevents ink from bleeding or spreading beyond the intended marks.

This rigidity makes it a favorite for artists who focus on fine wood engravings or detailed linocuts where precision is paramount. The paper exhibits excellent dimensional stability, meaning it won’t shrink or stretch significantly during the printing process.

If the carving features dense, tight patterns that threaten to fill in with too much ink, this paper will help maintain separation between the lines. It is an investment in professional clarity, perfect for high-stakes editions where detail is everything.

Awagami Kozo Paper: Best for Hand-Burnishing

Awagami Kozo is a traditional Japanese paper crafted from mulberry fibers, known for its extraordinary strength despite its lightweight, translucent nature. Think of this as the cobweb-weight silk of the printmaking world; it is incredibly thin yet possesses a tensile strength that synthetic fibers struggle to match.

Because it is so thin, it is the premier choice for hand-burnishing with a baren or a wooden spoon. It conforms to the contours of the block effortlessly, picking up fine textures that a heavier, stiffer cotton paper might miss.

While it is exceptionally durable, the light weight makes it susceptible to wrinkling if the ink is applied too heavily. Use a lighter touch with the ink roller to prevent saturation, allowing the natural luster of the mulberry fiber to show through the finished print.

Arches Cover: A Durable and Archival Classic

Arches Cover is a heavy-duty, robust paper that provides a reliable foundation for larger relief prints. It is often described as the “go-to” for prints that need to survive the rigors of framing and archival storage, functioning like a sturdy, long-staple cotton yarn that resists pilling.

The paper features a pronounced, elegant grain that adds a touch of tactile interest to the final print. Its composition is gelatin-sized, which provides a high degree of resistance to water, making it ideal for those who combine relief printing with hand-coloring or mixed-media techniques.

For projects intended for long-term display, the archival stability of Arches is difficult to beat. It is a heavier weight option that feels substantial in the hand and projects a sense of permanence.

Legion Somerset Velvet: A Luxurious, Soft Feel

Somerset Velvet is characterized by its soft, cushioned surface that feels remarkably plush, similar to an extra-fine micron merino that has been expertly spun. This texture is ideal for relief printing because the paper fibers “give” slightly under the pressure of the press, resulting in a rich, full-bodied transfer of ink.

The surface is slightly textured, which creates a soft halo effect around the edges of the print, avoiding the harshness of a perfectly smooth surface. It is the preferred choice for artists who want their prints to look and feel like organic, handmade fine art.

Be aware that because the paper is quite absorbent, it may require slightly more ink than a harder, less porous sheet. If the project demands a warm, inviting aesthetic, Somerset Velvet is the standard by which all other soft-feel papers are measured.

How to Choose the Right Paper for Your Project

Selecting the correct paper is a systematic process of matching the paper’s physical properties to the demands of the block. If the block features fine, delicate lines, lean toward a harder-surfaced paper like Hahnemühle Copperplate to prevent blurring.

Conversely, for bold, graphic designs with large solid areas of color, a softer, more absorbent sheet like Somerset Velvet will ensure the ink covers evenly. Always consider the method of printing; hand-burnishing requires a lighter-weight paper, while a mechanical press can accommodate the thicker, heavier options.

• Fine detail: Choose hard, smooth surfaces.
• Large color blocks: Choose soft, absorbent papers.
• Hand-printing: Choose thin, flexible fibers.
• Archival longevity: Always look for 100% cotton or high-quality mulberry content.

Paper Weight (GSM) Explained for Printmakers

GSM stands for “grams per square meter,” which measures the density of the paper regardless of its dimensions. Similar to how yarn weight (lace, fingering, worsted) dictates the drape and utility of a garment, GSM dictates how a paper handles ink and pressure.

A low GSM (e.g., 40–90 gsm) is thin, translucent, and highly flexible, making it ideal for hand-burnishing. A high GSM (e.g., 250–300 gsm) is thick, rigid, and luxurious, providing a heavy weight that resists curling and stands up to multiple passes through a heavy press.

Most professional relief prints are made on papers between 200 gsm and 300 gsm. This weight is substantial enough to hold a crisp edge and provide archival structural integrity, yet flexible enough to accept the impression of the block.

Machine-Made vs. Mould-Made: Does It Matter?

The method of production significantly influences the final behavior of the paper, much like the difference between hand-spun and mill-spun yarn. Machine-made paper is produced in a continuous roll, which creates a distinct “grain direction” where fibers align in a single orientation.

Mould-made paper is created using a cylinder mould that mimics the process of traditional hand-made paper, resulting in a more random fiber distribution. This leads to greater dimensional stability, meaning the paper is less likely to expand or contract unevenly when it gets wet from ink.

For serious editions, mould-made paper is generally preferred because it provides more predictable results during the printing process. Machine-made papers are perfectly acceptable for practice, proofing, and testing, but they can be temperamental when registration is vital.

Tearing Paper for a Perfect Deckled Edge Look

A deckled edge is the raw, feathered edge formed as paper fibers settle against the frame of a mould. In the fiber arts, this provides the same raw, authentic appeal as an unfinished hem or a natural fringe on a hand-woven scarf.

To achieve this look, use a metal ruler or a tearing bar to create a clean break in the paper fibers rather than using a knife. Scoring the line with a bone folder first creates a precise path for the tear, ensuring the deckle remains consistent along the entire side.

Tearing paper also prevents the “searing” effect of a blade, which can compact fibers and look artificial. A torn edge adds a professional, artisanal finish that highlights the handmade nature of the relief print, making the piece feel complete and deliberate.

Choosing the right paper is the final, vital step in elevating a relief print from a simple graphic to a sophisticated work of art. By understanding the interplay between ink, pressure, and fiber, you ensure that every print effectively captures the intention of the block.