When the prints are finished they should be put to dry as soon as possible. If they are spread out and left exposed to the air they will soon dry, but in drying will cockle, and cannot then be easily pressed flat. It is better to have a number of mill-boards or absorbent "pulp" boards rather larger than the prints, and to pile the prints and boards alternately one by one, placing a weight on the top of the pile. The absorbent boards will rapidly dry the prints and keep them quite flat.

Finished prints should be numbered for reference, and should, if printed by the artist himself, also bear his signature —or some printed sign to that effect. The number of prints obtainable from a set of blocks is difficult to estimate. The Japanese printers are said to have made editions of several thousands from single sets of blocks. The actual wear in printing even of a fine line block is imperceptible, for the pressure is very slight. Certainly hundreds of prints can be made without any deterioration. But an artist who is both designing and producing his own work will not be inclined to print large editions.[5]