As I mentioned, I'd dampened some paper to make lino prints of a block I'd cut back in June of Penshaw Monument. I'd read repeatedly that dampened paper enables the ink/paint to transfer and adhere better to the paper than using dry paper. They were right. Previously I had to make sure that my lino block was well covered in acrylic paint, as it dries fast on the block if applied thinly and leaves bare patches on the print. Then, when I lay the dry paper onto the block and applied pressure, the paint would squash between the block and the paper, moving into and obliterating any fine lines I'd cut, and gooing out over carefully cut edges, so the image wasn't hard-edged any more. In addition, as I removed the paper from the block the paint would stretch between the two like melted cheese and form feathered areas on the print.
BUT....... with dampened paper I can use less paint, as the paper now absorbs the paint on contact with the block, leaving a much sharper image, and I can use my fingers to press the paper into the recessed areas giving a lovely relief effect. This has re-enamoured me to lino prints, so watch this space.
Oh, the image at the top was done on scrap paper I'd dampened, which already had scruffy black marks. They're not a result of bad printing. But you can see the accuracy of line I've reproduced here, which would never have been possible on dry paper.