Unlocking the Potential of the Fome Etching Press for Relief Printing
In the world of printmaking, adaptability is especially important for artists balancing space, budget, and creative ambition. The Fome Etching Press stands out as a versatile companion that, while traditionally intended for intaglio methods such as etching and drypoint, can also serve as a reliable platform for relief printing. This multi-part series is dedicated to revealing how this compact but capable press can expand your printmaking possibilities. In this first installment, we’ll explore the fundamentals of its structure, the necessary adaptations for relief processes, and the environmental and technical considerations required to set the stage for consistent, high-quality impressions.
The Fome Etching Press is often favored in student studios and professional workspaces due to its manageable size, mechanical simplicity, and robust construction. Its core designconsisting of a flatbed and adjustable top rolleropens up creative avenues beyond its traditional intaglio roots. While not originally built for relief work, this press is fully capable of handling block printing methods like linocut and woodcut with just a few thoughtful adjustments. Its lack of complex components means it’s less prone to mechanical issues, making it especially valuable for printmakers working in home studios or shared spaces where maintenance resources may be limited.
When compared to platen or cylinder presses specifically engineered for relief printing, the Fome may initially appear too generalized. However, its strength lies in its mechanical predictability. With careful calibration, the same pressure precision that makes it ideal for etching plates can be redirected to accommodate raised-surface relief blocks. This flexibility turns it into an all-in-one printing solution that doesn’t require you to compromise on artistic quality.
Perhaps most importantly, using a press like the Fome encourages a deeper understanding of the physical relationship between the materials involved in relief printingplates, paper, ink, and pressure. Unlike dedicated relief presses that often simplify this relationship through preset mechanisms, the Fome requires you to make intentional adjustments. These deliberate calibrations can ultimately enhance your craftsmanship and improve your intuition as a printmaker.
Press Preparation and Roller Mechanics: The Path to Clean, Consistent Impressions
To transform the Fome Etching Press into an effective relief printing tool, a critical first step is understanding how its roller height functions. Relief printing demands a controlled environment in which the roller applies even, lateral pressure across the raised surface of the block. If the roller height is set too low, it may overly compress the plate or damage the substrate. If it’s too high, there’s a risk that the roller will climb or tilt slightly when it makes contact with the platecreating uneven pressure and misaligned prints.
The key is to adjust the top roller so it sits just high enough to glide smoothly over the total thickness of your printing plate and its base materials, such as registration boards or tympan layers. This ensures that the roller moves horizontally rather than vertically, preserving the integrity of both the plate and the final impression. Consistent horizontal motion is essential in relief printing because it ensures that all raised surfaces receive uniform ink transfer without pushing the paper out of place.
The Fome Press allows for a roller clearance of approximately 1.7 centimeters. This measurement provides ample room for most commercially available relief materials, such as linoleum, vinyl blocks, and some types of medium-density wood. However, not all substrates behave the same under pressure. For example, soft linoleum can slightly compress, accommodating minor deviations in roller height without compromising the image. On the other hand, rigid materials like birch plywood or MDF will resist any compression, requiring even more precise alignment and roller calibration to avoid pressure inconsistencies.
The use of runnersthin, rigid strips placed alongside the blockcan help maintain this alignment. By setting the runners at the same height as the printing plate, you create a level track that prevents the roller from tilting or shifting. This practice not only enhances print consistency but also prolongs the life of the press by reducing unnecessary strain on its moving parts.
Cleaning and maintenance should not be overlooked when transitioning the Fome Press from intaglio to relief use. Any residue from intaglio printingespecially oil-based ink, metal filings, or plate oilcan interfere with the clean, high-contrast results typically desired in relief work. Blankets or felts that are part of the intaglio process should be removed entirely unless you’re intentionally aiming for embossing effects. A clean, bare bed is ideal for most relief applications, allowing the block and paper to interact with minimal interference.
Material Synergy and Studio Considerations for Optimal Relief Results
Equipping your studio for relief printing on the Fome Etching Press goes beyond mechanical setup. Every element in the printmaking chainblock, ink, paper, and pressmust work together harmoniously. The interaction between these components will often determine the final visual outcome just as much as the block carving itself.
Paper selection, for instance, plays a vital role. While smooth papers may work well for digital reproduction or delicate line work, they often fail to absorb the ink effectively in relief processes. Papers with a slight texture or tooth, such as those made from cotton or mulberry fibers, offer better adherence and ink transfer. These papers grip the ink without smearing and allow for more nuanced impressions, particularly when printing with detailed cuts or intricate grain patterns.
Ink consistency also matters. Oil-based inks are typically favored for their longer open time and superior opacity, especially when printing by hand or with an etching press. These inks maintain their workable consistency for longer periods, which is crucial when adjusting pressure settings or working through a complex registration setup. Water-based inks can be used as well, but they often dry faster and may require quicker working speeds or the addition of retarders to stay viable throughout a session.
The substrate itselfwhether it’s linoleum, vinyl, or woodshould be chosen based on the nature of the artwork. Linoleum is soft, easy to carve, and provides a smooth surface, making it ideal for beginners or artists working with intricate patterns. Woodblocks, especially those with visible grain, offer a different aesthetic altogether, often producing natural textures that become part of the design. Vinyl sheets provide a modern alternative with a rubbery texture that holds detail well and resists wear over time.
One often overlooked but essential factor is the studio lighting and registration system. Good lighting helps identify uneven inking or pressure flaws during test pulls. Meanwhile, a reliable registration methodsuch as corner tabs, punched holes, or fixed framesensures that each impression lands exactly where you want it. This is especially important when working in multiple layers or colors, where misalignment can disrupt the entire composition.
In professional and educational settings alike, the importance of a clean, organized workspace cannot be overstated. Relief printing can get messy, and the fine particulates generated during block carving or the residual tackiness of oil-based ink can easily contaminate tools and materials. Establishing designated zones for inking, printing, and drying not only improves workflow efficiency but also protects your work from accidental damage or smudging.
As artists continue to explore new approaches within traditional media, the humble Fome Etching Press stands as a reminder that innovation often begins with the tools we already have. Its adaptability is a testament to the creativity of those who use itnot just for what it was built to do, but for what it can become with insight and intention.
Understanding the Role of Roller Adjustment in Relief Printing with the Fome Etching Press
Relief printing is an intricate art that blends technique with craftsmanship, and adapting tools like the Fome Etching Press to serve this process requires a precise approach. One of the foundational steps in preparing your press for successful relief work is adjusting the top roller to accommodate the height of your printing matrix. Unlike some higher-end models that come equipped with dials, numerical indicators, or pressure gauges, the Fome Etching Press offers no such calibration tools. Instead, it relies entirely on the user's tactile sensitivity and experience. This may seem daunting at first, but with practice, artists can develop a keen sense of pressure and alignment through trial and observation.
Elevating the top roller is not a one-size-fits-all task. It demands close attention to the thickness of your printing blockwhether you're working with linoleum, Japanese vinyl, or wood. When the roller is too low, it may press too heavily on the surface, potentially damaging the block, distorting the paper, or leading to blotchy, over-inked impressions. If it's too high, on the other hand, the pressure may be insufficient, resulting in prints that are faint or incomplete.
The adjustment process usually involves loosening the roller's knobs, slightly lifting it, and making a few dry passes without ink to test the pressure. During these trial runs, place your block and backing materials on the press bed and run a sheet of paper through. Carefully inspect the contact areas for signs of embossment or pressure. A light embossment on the sheetabsent any inkcan signal that the roller is sitting just right. It's a matter of fine balance and requires an attentive eye and a bit of patience.
With time and repeated use, you'll become more attuned to the nuances of roller height. Each plate has its personality and behavior under pressure, and understanding how to match roller tension to your matrix material is a critical part of achieving professional-quality results with the Fome Etching Press. The reward is greater control over your prints, with sharper impressions, even ink distribution, and reduced risk of mechanical errors that can ruin a fine art print.
This tactile interaction with the press creates an intimate connection between the artist and their medium. The act of sensing pressure, rather than relying on mechanical presets, sharpens your intuition and brings a new level of sensitivity to the printmaking process. You begin to anticipate how the press will respond to different substrates, how weather or humidity may affect your paper, and how even the smallest variation in roller height can dramatically change the final image. This approach encourages mindfulness and fosters a hands-on learning process that builds confidence and skill over time.
Adjusting the roller also gives artists the freedom to explore creative variations. Slight changes in pressure can yield different textures, making it possible to experiment deliberately with overprinting, ghost impressions, or the interplay between negative and positive space. This degree of control is difficult to replicate in purely digital or mechanized environments, where much of the tactile engagement is lost. The analog nature of the Fome Etching Press turns each printing session into a meditative exercise in responsiveness and care.
What may seem like a limitationthe lack of pressure indicatorsbecomes a strength in disguise, inviting a deeper understanding of materials and processes. Through repeated testing and gradual refinement, the press becomes not just a tool but a collaborative partner in the artmaking process. Over time, you’ll come to recognize the subtle language of resistance and ease as the roller glides over your plate, and this fluency will allow you to push the boundaries of what’s possible in relief printing.
Using Runners for Stability and Consistency in Printing
The second major adaptation for relief printing on the Fome Etching Press involves the use of runnerssimple yet essential guides that can dramatically improve the quality and consistency of your prints. Runners are narrow strips of material designed to match the exact height of your printing block. Their main function is to provide a stable surface alongside the plate, ensuring that the roller travels smoothly and evenly across the entire bed. Without runners, the roller may tilt or shift pressure unevenly, which can lead to imbalanced prints, ghosting, or even misregistration.
Choosing the right materials for your runners is crucial. Ideally, you want them to be made from the same material as your block. For instance, if you’re printing on 3mm linoleum, then using spare strips of the same linoleum will give you perfect height alignment. This helps create a seamless path for the roller to traverse without dips or pressure fluctuations. Unfortunately, not every artist has the luxury of spare material in the right size. If your block was cut from scraps or non-standard sizes, you might need to improvise. Layered mount board, archival card, or even stacked chipboard can work well in these cases. By carefully building up the runner layers to the required height, you can maintain alignment without compromising the press’s effectiveness.
Height isn't the only dimension to consider. The length of your runners should span the entire length of the press bed whenever possible. Runners that are too short can create problems during printing, as the roller may hit a gap between segments and shift or dip unexpectedly. This inconsistency can distort your print or cause uneven ink transfer. If you're forced to work with shorter runners, consider joining them securely to create a single, continuous length. This minimizes the risk of the roller reacting unpredictably to seams or breaks in the surface.
Equally important is the runner's width. Too wide, and the runner may encroach upon your printing area, interfering with image borders or registration marks. Too narrow, and the runner may fail to guide the roller properly, reducing its effectiveness. Experimenting with different widths can help you find the sweet spot that suits your printing style and the specific layout of your plates. Many artists find that customizing runners to fit each project leads to better results than using a one-size-fits-all solution.
To hold runners in place during printing, a simple strip of masking tape along the edges often does the trick. This prevents slippage or movement as the roller makes its pass. Once your setup is complete, conduct a dry run with the plate and runners in place, along with a blank sheet of paper. This blind print technique lets you see how the roller behaves and where pressure is being applied before you commit to inking. Identifying high spots, low areas, or misalignments at this stage can save significant time and prevent wasted materials later in the process.
Fine-Tuning Pressure and Perfecting the Printing Experience
After you’ve adjusted the roller height and secured your runners, the next step is to fine-tune the printing pressure. With the Fome Etching Press lacking numeric pressure indicators, this is more of an intuitive, hands-on process than a mechanical one. The key is to rely on what you can see and feel. Visual cues from a blind printlike the presence and depth of an embossment, offer insights into how the roller is engaging with the plate. You want enough pressure to transfer the ink cleanly, but not so much that you crush the fibers of the paper or warp the block.
Each matrix material responds differently to pressure. Soft vinyl might need a lighter touch, whereas denser blocks such as mounted wood may require a firmer press. Similarly, different paper stocks absorb pressure in unique ways. A lightweight washi paper might emboss easily, while thicker Western papers may demand a stronger roll to yield a visible impression. Keeping notes or a printing journal of your settings, block materials, and paper choices can help develop consistency over time.
It's also worth noting that pressure adjustment isn’t static. As the plate wears down, or if you're doing a multi-pass registration or reduction print, you may need to adjust the roller height again between stages. This dynamic approach helps ensure continuity across a series of prints, especially when working on limited editions.
Another subtle but impactful element is the tactile feedback during a print run. As you crank the handle and feel the resistance of the roller moving over the plate and runners, you’ll begin to recognize the right amount of tension. Too much resistance might signal excessive pressure, while too little might indicate insufficient contact. Over time, this feedback becomes a reliable part of your printmaking toolkit, helping you troubleshoot issues on the fly and avoid common printing pitfalls.
With practice and mindful setup, the Fome Etching Press can be transformed into a reliable and highly effective tool for relief printing. Its simplicity is part of its strength. By mastering manual adjustments, customizing runners to suit your needs, and learning how to interpret tactile and visual cues, you can unlock its full potential and produce stunning, high-quality prints that reflect your artistic vision.
Preparing for Single-Colour Linocut Printing on the Fome Etching Press
Once your Fome Etching Press is assembled and the roller adjusted to suit the thickness of your materials, you're ready to begin one of the most rewarding stages of relief printmaking: pulling a single-colour linocut. This stage combines technical setup with tactile artistry, offering results that range from delicate to bold, depending on your chosen materials and approach.
For this process, Japanese vinyl proves to be an ideal substrate. It carves beautifully, holds intricate details with clarity, and has a relatively smooth surface that responds well to inking. However, its slick reverse side can create a challenge during printing tends to slip slightly on the press bed, which can lead to misaligned prints or shifting during the run.
To solve this issue, we recommend creating a subtle grip surface on the bed itself. Adhering a sheet of lightly textured paper, such as cartridge stock, directly to the press bed introduces a micro-tooth that gently holds the vinyl block in place during printing. This surface not only stabilizes your block but also provides a built-in guide for registration. By using graphite or pencil to draw out registration marks on this paper, you can ensure consistent block placement across a series of prints. This is especially useful when working with multiple impressions or planning to experiment with overprinting in future layers.
Careful setup at this stage is essential. Consistency is the key to achieving repeatable, clean results, so taking time to align your registration paper and runners will help you maintain control throughout your print session. The runners, which guide the bed through the press, must be level and equal in height to the block itself to avoid slippage or uneven pressure. Adjust these before inking to ensure a smooth passage under the roller.
Inking the Block and Controlling Impression Depth
With your registration prepared and the block stabilized, you’re ready to move into the inking processarguably the heart of any relief print. The quality of your final print is largely determined by how evenly and thoroughly you ink the surface of your block.
Using an oil-based relief ink is generally recommended for both beginners and experienced printmakers. Oil-based inks tend to offer stronger pigment saturation and smoother application, making them particularly suitable for capturing fine lines and intricate textures. Squeeze out a small amount of ink onto a glass or acrylic slab, and work it evenly with a brayer until it achieves a velvety, tacky texture. Too much ink will clog the recesses of your carving; too little may result in patchy or uneven prints.
Apply the ink in thin, even layers to the raised surface of your vinyl block. The goal is to coat all elevated areas while leaving recessed portions clean and untouched. You should hear a soft, sticky sound as you This is a good sign that your ink is being applied correctly. Check the surface under light for any dry patches or excess pooling. An evenly sheened surface is ideal.
Once inked, place the block on the bed of the press within your registration marks. Carefully lay your printing paper on top of the inked block. The type of paper you choose can have a significant impact on the outcome. Heavier weight printmaking papers work well, especially those with a slight texture or a good degree of absorbency. For best results, lightly dampen the paper before printing. This softens the fibers and helps the paper pick up the ink more fully, resulting in richer, more consistent impressions.
The choice of interleaving between the paper and roller is a critical step. In intaglio printing, blankets are used to press the paper into the etched lines, but in relief printing, the raised surface does the work. You may still use a blanketbut only sparingly. A single thin blanket can help achieve a soft embossing effect, which can be aesthetically pleasing in some designs. However, if you’re planning multiple-layer prints or require precise registration, a rigid intermediary such as a sheet of rubber, blotter paper, or stiff card is better suited. These materials prevent excessive paper deformation, keeping each impression crisp and aligned.
As you begin to crank the bed through the rollers, pay attention to the feel of the mechanism. You should encounter a steady, smooth resistancenever forceful or jerky. If the pressure feels uneven or stiff, pause and readjust. Proper tension ensures even transfer of ink from the block to the paper and reduces wear on the press over time.
Evaluating the Print and Refining Your Process
Once your block has passed through the press, gently peel back the paper from one corner to reveal your impression. This momentwhere the fruits of your planning, carving, inking, and printing come togetheris often the most exciting part of the process.
A well-executed print will display even inking, crisp lines, and minimal paper shift. The image should be sharp and well-registered, with no signs of smudging or slippage. If the print is too faint, your ink layer may have been too thin, or your pressure too light. If the lines are thickened or smudged, over-inking or paper movement could be the culprit.
Errors are not only common but expected, especially in the early stages of using an etching press for relief work. Think of each print as a learning opportunity. If the ink coverage is inconsistent, adjust your brayer technique or the amount of ink you’re using. If the paper is shifting, revisit your registration or consider increasing the surface grip under the block. Should embossing be more pronounced than intended, switch to a thinner or firmer interleaving material.
One of the greatest advantages of the Fome Etching Press is the control it offers. Unlike hand burnishing or smaller tabletop presses, this model provides consistent, even pressure across the entire print area, which allows for detailed experimentation and refined technique. The more you print, the more attuned you become to the subtle cues of pressure, texture, and feedback from your materials.
Over time, you’ll develop an intuitive sense of how your press responds to different block materials, inks, papers, and settings. This sensitivity is what elevates your printmaking from mechanical reproduction to expressive craft.
Beyond the technical, the emotional satisfaction of creating a successful print cannot be overstated. Watching your design come to life through a careful balance of pressure, ink, and paper is immensely fulfilling. Whether you’re creating a limited edition run, experimenting with texture, or simply learning the process, each pass through the press builds your understanding and confidence.
As you refine your technique, consider documenting each print sessionnote the type of paper, ink mix, pressure settings, and any modifications made along the way. This record becomes invaluable when reproducing successful outcomes or troubleshooting new challenges.
Relief printing with a Fome Etching Press unlocks a new level of precision and artistic control. With careful preparation, thoughtful inking, and consistent evaluation, even beginners can achieve studio-quality results. Let each print be part of a broader conversation with your tools and materials creative dialogue that grows richer with every pull of the press.
Mastering Multi-Colour Relief Printing on the Fome Etching Press
Relief printing on the Fome Etching Press opens up a vast creative landscape. While single-colour prints are often admired for their clarity and directness, venturing into the world of multi-colour printing brings a more dynamic visualcomplexity ,also introducing a new level of technical challenge. From registration accuracy to ink management and surface stability, each factor plays a critical role in achieving clean, compelling impressions.
One of the most crucial aspects of multi-layer relief printing is mastering the registration and precise alignment of each successive print layer. Inaccurate registration can result in noticeable shifts or overlaps that compromise the design. Artists often begin with simple pencil markings or printed guides on a backing sheet, but as you advance, more sophisticated solutions become necessary. Creating a registration frame or "chase" using blocks of the same height as the printing matrix provides a reliable method. This setup secures the block in a consistent position and allows the printing paper to nest perfectly within a structured border. The result is greater control and repeatability across multiple impressions.
Yet, even a well-built registration frame brings considerations. With added block borders, the likelihood of unintended embossing increases, especially when using a felt blanket over the top. This effect, while sometimes visually pleasing, can distract from the intended image if not managed carefully. To counteract excessive embossing or prevent buckling, alternative backing materials should be considered. A flat, rigid board placed behind the paper can distribute the roller's pressure more evenly. However, attention must be paid to the overall height of the sandwich, as the press has limited clearance. Misjudging this can lead to an insufficient impression or, worse, damage to the press itself.
Working with oil-based inks in multi-colour printing introduces another level of complexity. These inks offer vibrant saturation and a broad working time, but they also demand patience. Each layer must cure sufficiently before the next is printed. Failing to allow proper drying can result in smudging, ink transfer between layers, or color contamination. The workspace environment plays a significant role here. A well-ventilated, temperature-controlled area can improve drying times and overall consistency. Keeping hands clean and handling prints with care is essential to protect previously printed layers.
Navigating Common Press Challenges: Slippage, Ghosting, and Pressure Management
Once multiple elements are introduced into a single print, press dynamics change. One recurring problem that plagues relief printers is slippage. This is particularly common when using soft synthetic blocks like Japanese vinyl, which can move under the roller due to insufficient friction. If the block shifts even slightly, the resulting print will show blur or double-imaging.
Several techniques can help minimize slippage. Using lightly textured papers can naturally grip the surface better than glossy or coated papers. Another helpful technique involves applying a subtle tack to the press bed. This can be achieved using materials like repositionable spray adhesive or even rubber grip mats. However, any adhesives must be thoroughly tested beforehand, as some may leave unwanted residue on the press bed or even transfer to the paper, affecting the final print. Likewise, some adhesives degrade over time or respond unpredictably to humidity and temperature shifts.
Ghosting is another issue that can frustrate even experienced printmakers. This phenomenon appears as faint, unwanted shadows of previous prints or plate impressions. One of the most common causes is insufficient roller pressure. When the pressure isn't consistent across the block, the ink doesn’t transfer uniformly, and faint shadows can appear in the final image. Alternatively, the issue may stem from the blanket slightly dragging the paper as it travels through the press. In either case, refining the press setup can offer a solution.
Adjusting runner height or substituting a thinner or slicker blanket can help address drag. If the blanket is too thick or has developed resistance from wear, it may no longer glide smoothly across the surface. Some printers opt for no blanket at all when working with relief blocks, especially if a more defined, ink-focused image is desired over a soft embossed finish.
Ink application is another variable that influences ghosting. Over-inking or under-inking a block can cause irregularities in the transfer. Consistent inking techniquesrolling evenly in multiple directions and assessing coverage by sight and feelcan reduce variability from print to print. It also helps to maintain a rhythm with the press. The more familiar you become with its pressure behavior and feedback, the more instinctively you’ll know when something feels off.
Artistic Depth and Expressive Possibilities with the Fome Etching Press
Beyond the mechanics, the Fome Etching Press offers a unique aesthetic potential that distinguishes it from other printmaking tools. Relief prints made on this press have a character that blends strong, tactile impressions with subtle visual nuance. While challenges like misalignment or uneven pressure can be frustrating, they also offer opportunities to introduce texture and atmosphere. When embraced creatively, these qualities can elevate a print from technical to evocative.
Subtle embossing, often considered a by-product, can be used as an intentional design feature. Areas where the press leaves gentle imprints beyond the inked portions of the block add dimension and physicality to the work. These textures interact with light and shadow, especially on heavier or softer paper stocks, and can turn a flat image into a richly layered composition. For artists seeking a tactile presence in their work, this can be a compelling direction.
Furthermore, the physical act of printinglaying paper, operating the roller, lifting printsfosters a deeper connection with the material. Relief printing is a slow and deliberate process, and the Fome Etching Press demands attention and care. Each pass through the rollers not only brings ink to paper but also imparts a lesson in precision, material behavior, and artistic intention. With every new print, your familiarity with the press’s temperament grows, as does your ability to push boundaries and experiment.
As you gain confidence with the press, consider mixing traditional techniques with modern innovations. Combine hand-drawn lino cuts with digitally carved designs, or experiment with unconventional paper types and layered textures. Try printing on fabric, tissue, or transparencies to discover new effects. The Fome Etching Press, though engineered with precision, is ultimately a tool for creative exploration. It adapts as you do, evolving into a personalized platform for artistic inquiry.
In the end, mastering advanced relief printing on the Fome Etching Press requires more than technical skill requires sensitivity, curiosity, and a willingness to engage with each layer of the process. From managing ink flow and pressure settings to engineering your registration system and navigating challenges like slippage and ghosting, each step offers an opportunity for discovery. And as your experience deepens, so does the range of expressive potential at your fingertips.
Let your journey with this versatile press unfold with both discipline and imagination. The printmaking process is as much about solving problems as it is about creating beauty. With each turn of the roller, new possibilities emergesubtle textures, refined alignments, and layered colors all speaking in harmony. Your prints will not only carry your visual voice but also the story of your craftsmanship, patience, and creative evolution.
