Preparing for My Largest Edition Run Yet: The Art of Inks, Papers, and the Perfect Roller

Carving a large-scale linoprint is one thing—but producing a flawless edition of 30 prints is an entirely different challenge. As I prepare for my largest edition run yet of my A2 Folkestone linoprint, I’ve been deep-diving into the technical details of inks, papers, and rollers, to 'up my game' so to speak. Each element plays a vital role in bringing out the intricate details of my carving, and I wanted to share some of my most recent discoveries.

The Ink Revelation: Why I’m Sticking with Cranfield

After much experimentation, Cranfield inks have officially won me over. Their rich pigment, buttery consistency, and exceptional coverage make a massive difference to printmaking. The ink glides on smoothly, enhancing the depth of the carved lines without flooding the finer details. This consistency is crucial when creating a run of 30 prints—I need the ink to behave predictably and evenly across the entire edition.

One of the most beautiful things about linoprint is that every print is different, unique, and one-of-a-kind in how the ink has been picked up or how the paper pulls back. Although I love a little texture for added depth, this design—my ‘Folkestone Leas Montage’ (working title)—is so complex that I’m aiming to print as evenly and consistently as possible.

Paper Perfection: Finding the Right Surface

Choosing the right paper for such a detailed, large-scale print is no small feat. The surface needs to hold the ink well while showcasing the carved details crisply. I’ve tested various papers and found that while most printmakers favour Somerset Satin or Zerkall, I lean more toward Hosho Japanese printmaking paper. For this edition, I’ll be working with Awagami Masa Paper.

Made from a blend of kozo (mulberry) and wood pulp, Masa is smooth yet durable, with just the right amount of absorbency to capture the delicate lines of my carving without smudging or blurring. Its lightweight flexibility also makes it easier to hand-burnish, which is essential for maintaining consistency across a run of 30 prints.

The Roller Revelation: Density Matters

While perfecting my print tests, I realised how much impact the roller has—far more than I initially thought. During my studio time in Canterbury, where I’m lucky enough to have access to the Albion Printing Press of dreams, I’ve used some fantastic rollers that pick up even the most delicate carved details. Inspired by this, I began researching rollers for my own studio and came across a fascinating article by Hickman Design on the science of rollers and brayers (read it here).

One key takeaway? The density of the roller, measured by its ‘shore’ value,’ makes a huge difference:

• Lower shore value = softer rubber/urethane → better for picking up fine details

• Higher shore value = firmer roller → better for bold, flat areas

For this edition, I’m opting for a softer roller with a lower shore value to capture the intricate lines of my Folkestone scene without over-inking or crushing the details. The balance is crucial—I want a roller that glides smoothly but isn’t so heavy that my arms give out halfway through the edition!

The Joy (and Challenge) of a Large Edition Run

Printing a consistent edition of 30 is both exciting and daunting. It requires precision, patience, and consistency—from ink mixing and rolling pressure to ensuring each print dries evenly. I’ll be documenting the process, sharing behind-the-scenes videos, and offering insights into how I troubleshoot any hiccups along the way.

If you’re curious about large-scale printmaking, keep an eye on my Instagram @Fabia.H.Goff and sign up for my newsletter for exclusive insights and early access to the final edition.