This research explores how the micro haptics of the (post-digital) print may re-balance and open a window to what Laura Marks identifies as “a cultural dissatisfaction with the limits of [optical] visuality” that is in step with Ruth Pelzer-Montada’s questions on the haptic qualities of prints. This research is a practice-led investigation into the potential of printmaking to address the divergent currents that inform and shape print within contemporary visual culture. It aims to identify and engage with this “dissatisfaction” through a realignment with the analogue world, where living within and understanding a complex natural system is an essential component to being human. With this in mind, the choice of print matrixes was limited to using the manufactured and varied surface of found plywood, primarily for its organic and varied patterns and secondarily to work with the concept of the ready-made. The studio practice focused on what a relief surface might be, observing the tensions between materiality and abstraction and the situational qualities of print that result from direct engagement with the eye and hand rather than following a purely mechanical process. With the Russian avant-garde concept of Faktura, that is, how materials are used and evidence of it being made, being the starting point to making the prints and also providing the framework to view works of artists that share this methodology. Using this methodology, that is, ‘to build a print’ was a direct way to investigate the material aspects of the print and the resultant surface qualities of the print as a means to describe and ‘hold’ the haptic qualities of the surface. The form of the artists’ book was used to expand the concept ‘to build a print’ and to condense these haptic qualities into an object to be held and interacted with.