Choosing the Right Paper for Hand Printing Lino Blocks

For many printmakers, the moment of pulling a print is almost sacred. You have carved, you have inked, you have taken a breath - and now it all comes down to the paper beneath your hands. The wrong choice can muddy your lines, smear your ink, or leave you with a result that does not even come close to what the block had to offer. The right paper, on the other hand, can make your print sing.

We have been hand printing lino blocks for years, and paper selection is one of those topics we come back to again and again - both in our own studio and in the questions our community sends us. So we decided to write it all down properly.

This is our practical guide to choosing paper for hand printing linoleum blocks. Whether you are burnishing with a wooden spoon, working with our Printmaking Wooden Baren for broad, even coverage, or using our Printmaking Glass Baren for fine detail work - the paper you choose shapes the outcome just as much as your tools. And if you have moved from printing by hand to working with one of our presses, from the compact A5 Lino Press up to the studio-scale A2 Textile Lino Press, you will know that paper choice changes with your method too.

What to Consider When Choosing Paper for Lino Printing by Hand

There is no single perfect paper. Every printmaker develops preferences over time, shaped by the style of work, the inks used, and the kind of finish they are after. But there are a handful of properties worth understanding before you buy.

GSM - Weight Matters More Than You Think

GSM stands for grams per square metre, and it is the standard measure of paper weight in printmaking. For hand printing lino blocks, the useful range sits roughly between 30 and 120 gsm.

• Lightweight papers (30–60 gsm) - typically Japanese or Asian papers such as washi or kozo varieties. They accept ink beautifully and are forgiving under a baren, but they require a careful, steady hand.
• Medium papers (70–100 gsm) - the sweet spot for most hand printing. Sturdy enough to handle without stress, light enough for good ink transfer without excessive pressure.
• Heavier papers (100–120 gsm) - often traditional Western printmaking papers. They feel satisfying to work with and hold detail well, but they require more consistent pressure when burnishing by hand.

Anything above 120 gsm generally performs better on a press - something our A3 Lino Press and A4 Lino Press handle with ease. When printing by hand, heavier paper is more likely to give you uneven results unless your technique is very controlled.

Surface Texture: Smooth, Toothy, or Somewhere In Between

Paper surface is described as smooth (hot-pressed), slightly textured (cold-pressed), or rough. For linocut printing, a smooth to slightly textured surface generally works best - it allows your ink roller to transfer ink cleanly from block to paper without the texture of the sheet competing with the texture of your carving.

Acid-Free Is Not Optional

If you are making prints to last - to frame, to sell, to give as gifts - use acid-free paper. Acidic paper yellows and deteriorates over time. Most quality printmaking papers are acid-free by default, but it is always worth checking. The label will usually say acid-free, pH neutral, or archival.

Paper Size and Format

Match your paper to your block and your workspace. Leave enough margin around the image area so the paper sits flat and does not curl during printing. If you are using a Lino Sheet cut to a specific size, plan your paper size before you start carving.

Colour: White, Natural, or Something Else?

Most printmakers default to white, but natural or off-white papers can add warmth that cold white stock does not offer. Cream-toned Japanese papers give prints a timeless, handmade quality that suits botanical, figurative, and decorative subject matter well.

Papers We Recommend for Hand Printing Lino Blocks

These are papers we have tested in our own studio, using our barens, rollers, and Lino Ink Renesans H2Oil.

Kitakata - ~30 gsm

Kitakata is a Japanese kozo paper and one of our favourites for hand printing. It is very lightweight, which means it drapes over the block and picks up ink with minimal pressure. The results are often beautifully soft - expressive and organic.

Works well for: bold and medium cuts, editions, chine-collé applications
Take care with: very fine lines - it can be unforgiving if the paper shifts mid-burnish
GSM: ~30

Awagami Mingeishi - ~45 gsm

Awagami Mingeishi is a step up in weight from Kitakata and one of the most versatile papers we have come across for linocut by hand. The fibrous surface gives prints a wonderful hand-pressed quality. It pairs especially well with our Lino Ink Renesans H2Oil.

Works well for: most subject matter, editioning, fine and medium cuts
Take care with: very heavy ink application - it can saturate quickly
GSM: ~45

Fabriano Rosaspina - 60–80 gsm

Fabriano Rosaspina is an Italian paper with a long history in printmaking. It is a soft, slightly warm-toned sheet with a velvety surface that works exceptionally well for hand printing using our Printmaking Wooden Baren.

Works well for: figurative work, atmospheric images, fine art editions
Take care with: ink smearing if you work too slowly
GSM: 60–80

Hahnemühle Woodstock - 100 gsm

Hahnemühle Woodstock is a German paper with a warm, natural tone and slightly rough texture. Applying ink evenly with our 18 cm Ink Lino Roller before printing helps ensure full coverage across this paper.

Works well for: graphic and typographic work, bold imagery, zines
Take care with: fine detail - the texture will break up very thin lines
GSM: 100

Rives BFK - 115–250 gsm

Rives BFK is something of a standard in fine art printmaking. The lighter weights (around 115 gsm) are well suited to hand printing with our Glass Baren; the heavier versions are better suited to our A3 Lino Press or A4 Lino Press.

Works well for: fine art editions, exhibition prints
GSM: 115–250 (use 115 for hand printing)

Strathmore 300 Printmaking Paper - 120 gsm

Strathmore 300 is a widely available, affordable printmaking paper that performs well above its price point. Rolling ink with our 6 cm Ink Roller gives precise coverage for smaller blocks on this paper.

Works well for: proofing, student work, editions where cost matters
GSM: 120

Hand Printing vs. Press Printing - Does Paper Choice Change?

Yes - but lighter papers are often the best choice for both methods.

When printing by hand, lighter papers require less pressure and generally produce more reliable ink transfer. When using a press – whether it is our A5 Lino Press, A4 Lino Press, A3 Lino Press, or A2 Textile Lino Press - the even mechanical pressure allows you to print on heavier papers as well.

That said, lighter-weight papers often capture detail more easily and require less pressure to achieve a clean print, even on a press. A press expands your options, but it does not necessarily make heavier papers the better choice.

A Note on Proofing vs. Final Prints

Before committing a beautiful piece of Fabriano Rosaspina or BFK, run a proof on a lightweight Japanese paper. Lay a piece of Lino Felt beneath your paper when hand printing - it provides a soft, even base that helps ink transfer more uniformly. A proof is not a failed print - it is the conversation before the final word.

Where to Buy

Most of these papers are available through specialist printmaking suppliers. In Europe, look for Intaglio Printmaker, Cass Art, or your local independent art supplier. For everything else - barens, rollers, inks and felts - our full collection covers the essentials.

Final Thought

Paper is not an afterthought in printmaking. It is half the conversation between you and your block. Start with one or two sheets of something new, print a proof, and see how it feels. There is no substitute for handling the paper yourself.

If you have questions about pairing paper with specific tools, find us on Instagram or drop us a message. Printing is a ritual, and we are here for all of it.