The relief surface print takes advantage of two special properties that separate acrylic based inks from solvent based inks. They dry more quickly and uniformly, creating a hard surface of ink. The relief surface print depends on this and also that the ink itself has a slight tack to it until it dries. This gives it adhesive properties. enabling dry pigments, dust and other fine particles to adhere to it.

The relief surface print uses a film negative instead of a film positive to create the image, which when the pigment is added ( a seperate process ) will result in a positive image.

Like the excavated print there are two distict steps in making the print. The excavated print requires printing and then removal of ink. Conversely, the relief surface is printed and then the pigment is applied afterwards, giving shape and definition to the image area. The excavated print uses many stencils and printings to build the image.
The relief surface print needs only one, a key image printed in transparent ink 10 or 12 times in absolute registration to create a cavity similar to an intaglio plate after it has been etched.

At this stage it is a colorless print. The pigment is oil paint mixed with soft cold wax and applied with a wide spatula. Its allowed to dry after the surface has been worked and the excess removed after its allowed to set
up or dry for a few hours.

Like an etching the image is defined by the ink drawn into the relief surface. The difference is that its like growing an etching plate from the bottom up instead of etching the surface from the top down. Also, the “plate” is the print. There is no transfer of color or printing from the paper. This is a hybrid process, a bridge between etching, painting and photography through screenprinting.

The first three steps for “preparing the paper for printing” also apply here. With this approach however, a single film negative may be all that is needed for printing.