How to Align Artwork Across Two Blocks for a Clean Multicolor Print
To align two separate relief-printing blocks, make both blocks and the paper return to fixed positions on the same registration setup. A simple L-shaped fence can work for a short hand-printed run; paper tabs and registration pins add repeatability. Proof the setup before printing the edition, and plan the artwork with a small overlap where the colors meet so a slight shift is less visible.
What registration needs to hold in place
Registration is the repeatable placement of the paper and block so that each color lands where intended. In a two-block print, there are two potential sources of drift: the sheet can move between impressions, and the blocks can sit differently relative to the sheet. A reliable setup controls both. A registration sheet or guide can establish where the block sits on the press bed and where the paper sits over it, as described in the UNSW relief-printing guide.
This guide is for a hand-printed or press-printed relief image made from two separate blocks on paper. It does not cover screen printing or printing several colors from one progressively carved block. The core idea is the same either way: preserve one orientation and one placement for the paper, then exchange blocks without shifting their image position.
Plan the artwork around the meeting point
Before carving, decide which block carries each shape and where their edges should meet. If one color forms a broad background and the second adds a dark outline or detail, print the broad, lighter area first and the darker key block afterward. A relief-printing handbook recommends printing palest colors first and overprinting with the darkest, and waiting until a layer is fully dry before printing over it; actual ink and paper drying times vary, so follow the ink maker’s directions and test your materials (Relief Printing Techniques handbook).
For boundaries that must meet, consider drawing a slight overlap into the design. For example, let the dark key line sit just over the edge of the colored shape instead of asking two carved edges to touch perfectly. This is a practical tolerance choice: a narrow overlap can conceal a small paper-placement error, while a deliberate gap can reveal the paper if the layers shift apart. The appropriate width depends on the image and the amount of visible line; proof it at actual print size rather than relying on a screen preview. A printmaker’s two-color linocut walkthrough similarly notes that relatively thick key lines allow some room for registration variation (Essdee’s two-color multi-block guide).
Transfer the same reference image to both blocks at the same scale and orientation. Relief printing reverses the image horizontally, so confirm the printed direction when planning lettering or asymmetric motifs; UNSW’s guide explicitly flags this reversal. If the blocks differ in size, use a common image origin or reference edge rather than centering each block independently. Matching outside dimensions is convenient, but consistent image placement is what matters.
Choose a registration setup for your tools
For a simple hand-printing setup, use a rigid flat board and an L-shaped fence or two stops that locate a corner of the paper. Add a separate snug frame or stops for the block so it cannot creep or rotate. Mark the top edge of the board and each block; returning a block rotated or reversed defeats accurate alignment. An L-shaped registration bar is one of the methods described in the relief-printing handbook.
For a press bed or repeated edition, paper tabs and registration pins provide a more defined repeat position. The paper tabs seat on pins in the same way for each pass, while a frame or fixed stops locate the block. Hickman Design’s instructions describe both temporary taped pins and a more permanent screwed-down arrangement, as well as a snug frame to keep the lino from moving (registration pin setup guide). Choose the setup you can keep stable and square throughout the print run; expensive hardware cannot compensate for a loose block or a moving base.
A useful rule is to make the block and paper reference different but compatible. The block needs stops that locate its edges; the paper needs stops or tabs that locate its edge. Do not assume that the outer edge of a sheet is square or that hand-cut blocks have perfectly matching dimensions. Use a square and a ruler to lay out the guide, and retain enough paper margin for the sheet to seat fully without the pins or tabs intruding into the printed area.
Build and check the guide before inking
Print the two colors in a repeatable sequence
Once the setup is proven, print a small number of trial sheets before committing your good paper. Keep the block in its frame, seat every sheet against the same stops or pins, and lower it in a controlled motion rather than nudging it after contact. With a baren or spoon, hold the paper steady while burnishing; with a press, keep the bed and registration sheet unchanged. UNSW’s printing procedure also emphasizes lining up the block and paper on the registration guide before printing.
Print the first color on all sheets, then let them dry enough for your chosen ink and paper before the next impression if the second layer will overprint it. Keep the sheets in a consistent orientation as they dry. For the second pass, place the second block into the same block frame and return each sheet to the paper locator. Do not compensate for a misplaced color by shifting individual sheets by eye; that turns one systematic error into many inconsistent ones.
If the colors are adjacent rather than overlapping, inspect a few proofs carefully before continuing. A clean-looking result on one sheet can still be accidental if the paper or block has been hand-positioned differently each time. Look for consistent edge alignment across several proofs, then proceed with the edition only when the setup repeats acceptably.
Diagnose a misaligned proof
If the second color is shifted in the same direction on every sheet, suspect a fixed setup error: the second block’s image may be transferred off-center, its frame may locate it differently, or the paper guide may be wrong. Compare the block outlines and reference marks, then adjust the block stops or image placement and print a fresh proof.
If the amount or direction of shift varies from sheet to sheet, suspect movement. Check whether the paper is fully seated, tabs or pins are loose, the block can slide in its frame, or the board has moved. Ink on pin heads or tabs can also interfere with seating; the pin setup guide recommends wiping pin heads so tabs continue to engage cleanly. Make one controlled change at a time, then run another proof set.
If alignment is good at one edge but progressively off at the other, the sheet or block may be skewing. Recheck that the reference edges are square and that the paper meets both locating surfaces consistently. If the alignment is correct but the color boundary still looks rough, revisit the carving and overlap in the artwork: registration can place the two blocks consistently, but it cannot correct a shape that was transferred or carved inaccurately.
Use a short proof routine before the edition
Before printing the full run, check a handful of trial sheets from the first color through the second. Confirm that the margins are right, the paper seats without catching, and the blocks return to their stops in the same orientation. Mark the top of the board, frame, and blocks so the setup is easy to restore after a break. For a pin setup, make sure each tab engages fully and does not carry ink into the next pass.
Record the practical choices that affect repeatability: which block prints first, how each block is oriented, where the paper seats, and whether the second pass requires drying. These notes are especially helpful if printing spans more than one session. A clean two-color result comes from matching the image layout to a stable physical guide, proving both blocks against the same sheet position, and correcting drift at its source before continuing.