Although relief blocking upon bindings seems to be out of favour, there are numerous styles of imitation relief practised nowadays, especially in imitation of cut leather or wrought metal. This work necessitates the matrix or table being prepared with great care, as it must be the counterpart of the plate. For this purpose an impression is first made upon a stout cardboard, which is fixed firmly enough on the bed to prevent its shifting, the block being affixed to the platen. Upon this first cardboard are laid the raised parts according to the height required, likewise cut out of stout cardboard, continuing to place a layer upon the other until a true negative of the block is obtained. Small and slightly raised ornamentation is not specially underlaid, using instead a piece of stout board well smeared with cobblers' wax, which, after standing awhile under the plate in the closed press, will make a very exact and firm base. Matrices made up of several layers of cardboard pasted on top of each other are also, when finished, covered with a piece of pasted packing paper and then pressed. This leaf prevents single pieces from working loose and sticking to the block.
For relief stamping, leather or cloth is stretched upon thin wrappers. The guide points must be made a little further apart on account of the material shrinking slightly under relief stamping.
Colour blocking, which has gained such unexpected popularity, gives the finisher no little trouble. As blind blocking is done by the press, so also may colour blocking be done if the blocks are coloured with the brilliant colours specially prepared for printing. A colour roller, made by moulding English roller composition on a wooden pin, is used for colouring the blocks. The worker himself may cast these rollers in a well-greased mould. The roller composition is dissolved in water, and after being poured into the mould is allowed to stand a few hours to cool. The colour blocker keeps about three rollers ready, of which one is used for light colours, another for middle tones, and the third solely for black. The rollers are either fixed in a fork with two handles or an axle goes through the wooden pin which is bound in leather at each end wherein the axle revolves in the hollow of the hand.