Three new presses: Rosewater Letter is free; Prismatic Tide and Fern & Copper join Pressed Plus. Look for the NEW chips in the press library. Choose optional notifications about new looks, features and offers. We’ve refined in-app prompts to appear at more natural pauses in your creative flow.

Explore Undertone, an experimental separation mode that keeps shadows in your darkest ink and brings color into the midtones.

Refined all built-in presets with gentler ink registration for clearer portraits and more natural facial detail. Each preset now starts with 0–10% registration, while your saved recipes and manual controls remain unchanged.

This update restores custom ink controls on iPad. Open Inks in the sidebar to choose your colors and create your own combinations.

Welcome to Pressed 2.0. Find a direction with Quick Press, Test Strips, and Ink Match. Bring a photo series together with Press Sets, then refine the framing, ink, and halftone details. A more polished editor keeps the focus on your artwork. Sticker cut guides now follow the white border shown in your export. Free exports still have no watermark. Pressed Plus remains a one-time purchase.

Free exports no longer carry a watermark. A recipe shared with you can be exported once for free. Shares now include a link back to Pressed. Small fixes.

The print now lives on a sheet, and the ink got smarter. - Margin, torn edge and dust: give the print its own paper, deckled like a real pull. - Three new screens: line for etchings, hatch for crosshatch, grain for stipple. Pick them from real printed swatches. - True Color (Plus): a solved separation that mixes your inks to match the photo, over the paper you chose. Meet Harbor, its first press. - Ink Level now drives every separation, and the whole preset library prints with a quieter, stock-tuned paper grain.

A quieter sheet, and a clearer view while you tune. - Every preset now prints with a subtler paper grain, tuned to its stock. - Hold any adjustment slider and the controls fade away, so you watch the whole print change as you drag. - The ink editor is now the same drawer as Adjust: full width, print always in view.

Bug fixes and performance enhancements.

Paper you can feel. Every stock now has its own tooth, and the ink skips its low points the way it does on real uncoated paper. A new Paper tooth control sets how rough the sheet is, and the paper picker shows the actual stock instead of a flat colour. Watch the press run. Tap the new control on the preview and the sheet goes back to bare paper, then each ink plate lands one at a time, named as it arrives. Plus a long list of engine corrections: cleaner highlights on square and elliptical dots, ink texture that no longer stretches with the shape of your photo, and plates whose stated screen ruling always matches the pixels.

Both inks now print. Multi-ink presses split a photo by hue, so each ink lays down the colours it is actually for and the overlaps mix the way ink does on a real press. Pink & Blue finally has pink in it. Prefer how it looked before? Every press keeps the old behaviour under Separation in the Inks sheet, as Duotone, and presses you saved keep the colour routing you made them with. Sharper dots. The halftone holds its shape all the way up the Dot gain slider instead of dissolving into flat tone past the halfway mark. Ink Level and Contrast. Two settings that were baked into every press now have their own sliders in Adjust. Citrus Noir. The old Citrus, kept as its own press: a dark duotone with yellow in the highlights. Sunset and Citrus print lighter. Both were laying down so much ink that half the sheet went solid. Raise Ink Level in Adjust if you liked them heavier.

Separations now carry a real page size, so a plate opens at the size you meant to print. If you exported separations before, run them again. New controls for print work: - Set the screen ruling directly in lpi, within the range your export size can actually hold. - Choose the dot shape: round, square, or elliptical. - Choose the print resolution on export, 300 or 600 dpi. Better plates: - Each plate is numbered by pass, lightest ink first. - Plates export as true grayscale, so a preflight accepts them. - Every plate says it is already screened, so nothing screens it twice. Fixed: - Four presses printed two inks on the same screen angle. Violet Hour, Burgundy Press, Slate and Coastal now give each ink its own angle. Thank you for all the feedback. Keep it coming.

Separation plates now export the right way up. If you exported separations before, run them again. New for print and screen work: - Each separation plate shows its linescreen (lpi). - Set a screen angle per ink in the palette editor. - The Bleed slider is now called Dot gain, the printer's term. And a broad polish pass: - Preview a real separation of your photo before you buy. - A clearer paywall and free vs Plus boundary. - Close Photo, a hold-to-compare hint, and a steadier Adjust view. - Friendlier empty states, clearer errors, and better large-text and localization support. - Sharing a saved press now sends it under the name you gave it. Thank you for all the feedback. Keep it coming.

Your work now survives closing the app: pick your photo and press back up right where you left off. The custom palette editor now floats over your live print instead of covering it, so you see your inks change as you build them. A few more finishing touches throughout.