With a lifetime's experience as an artist printmaker, Chris Pig takes you through myriad of subjects to do with relief and intaglio printmaking. Hints and tips that can save you literally years of faffing about, helping you save time and money. The descriptions are clear and concise. Chris Pig is the director of the Black Pig Printmaking Studio in Frome in the UK. He has taught in the USA, Spain and the UK and has work in public and private collections throughout the world.
You can’t find these (of that quality) for anything like £50/$65 in 2024. A decent example is closer to £200 and that’s if your lucky. I have one and it’s so versatile, every workshop should have one and paying £200 is still good value for what they can do. It’s worth adding that mine weighs 130kg/300lbs so keep that in mind if you’re thinking of buying one online.
Hello Chris - First time I've run across one of your videos. I really appreciated your well-spoken explanation, and absolutely love your studio! Seems so peaceful and looks like a great place to work! Do you have any videos that might go into how to identify an original vs a reproduction? Thank you very much, from across the pond :)
Wow. . . .Zoomed In (Stretch your Fingers apart on the Screen) at the mid point of the "Reveal" and its a Beautiful and Intricate Image of two Children at Play ! . . . Did you see that from the regular Peel Away !?! Earlier Commentator was the one who stated : "Zoom In" . . . So I did. Amazing or what ! 😎
This is a new comment on an old video-wondering if you have a preference between the 2.0 mm thick sheet Marmoleum, or the slightly thicker (2.5 mm) tile, or the very thick (9.8 mm) click flooring?
Nope. If your tools are sharp you should never need to soften the matrix. I'm old enough to have been taught by tutors who would recommend putting battleship lino on the radiator if it was a little stiff. If you heat lino or marmoleum it turns to unusable mush.I used to sometimes put battleship lino in the freezer to make it more responsive but marmoleum is just right, once abraded
Talked to a historian up in the mountains who works with 1800s city records (archiving them) and he said that yes indeed, these were used as a copy machine. Most cast iron "book presses" that look like this were probably at one time copy presses.
Absolutely fabulous: Superbly inventive technique & gloriously happy printer, overflowing with knowledge, so inspiring to any one. Thank you so much for sharing!
I bought the red handled roller and linocut tools recently. My reason was I had not tried engraving since high school and wanted to give it a go. I had some immediate success and really enjoyed it, and now will not mind spending more on better stuff as I hit limitations with the cheap tools I have. So I think just for a wekend play project the cheap tools or great for most hobbies/professions but yeah much past that and the value of the good stuff becomes useful fast.
Next time please show more close up shots of the printing blocks. Any good mobilephone camera is able to focus on small details. Thank you for the good presentation.
I have quite a few presses but am offering advice to people who haven't. Tatsuo Noda once said, brandishing his baren, "You in the West have printing presses that weigh tons, I carry mine in my top pocket"
GORGEOUS! Soooo much handy knowledge shared. From the paper you use and ink to the sound of it on the brayer, the technique with the magnets and ruler, it's very generous of you to share all this with the world. Thank you! I must go back now and watch your videos in chronological order. Loving the depth and detail of your work! 😍
Haha, I'm laughing here, from the satisfaction of coming across a true seasoned craftsman after poking around youtube looking at various teachings of linocut printmaking. I've been around professional artists most of my life, went to artschool myself, spent mamy years as a ceramicist, done sculpture, a little painting, silversmithing, etc, tried lino way back in artschool, and was curious about doing some pribting at home. I recognize a serious art teacher when I see one. You're not stating the obvious, you're starting from the top, and being super specific about good practice which is incredibly important and the whole dofference between amateurism ans professionalism, and for the student can mean the difference of loads of labour ending in disappointment and being exited about advancing their technique. I never liked art teachers who tread too gently, getting all twisted up in how the student feels about their precious first experiments, it's simply not constructive. What IS constructive is being specific about practice and technique, because SO much of making art of any kind involves first mastering the technique and for that you need to learn to understand what it is you'll actually be doing, how your tools and materials behave and adapt your own behavior to work with them, not against them. Ergonomics and safety, good posture and prep for the next step or like here, your actual "choreography" moving paper around, is all like the basic grammar you'll need to successfully make your own statement. So many videos show people actually holding tools incorrectly, great prints too, and all I can think is fast forward 15 years and serious physical issues await those who have improper habits, bad practice and weren't taught how to do things to save their hands, backs, lungs etc. I laugh because it's liberatingly clear when someone has a lifetime of knowhow. Beung given the heads up on how the "simple stuff" is done at the get go, saves so much trouble and time and it's simply untrue that there are "no rules to making art". Artistically you can do what you like, and if you know your craft you can afford to break rules and see if it serves you, but in ANY workshop there's soumd practice and it's not a small thing as it's about working sustainably, not screwing up your own hard work (or others) ultimately making the process that much more enjoyable. With art like with maths, if you get it wrong in the beginning, you can go back and fix it to a degree, but if you start really advancing you'll find yourself in alot of trouble down the line. I'm surprized I don't see alot more subscribers on your channel, but that may be down to alot of the audiences not actually doing, only watching, in which case all the filming/editing/feelgood-stuff is what they're after. I'll watch whatever you put up here! Thank you for your time and consideration! 😁❤️👍
Thank you very much for this.Retired now being an illustrator and artist. Going to give this a bash. Always wanted to do Lino prints back in art school.
I remembered doing my final year, since I was very tired going back from dorm and studio I decided to do my woodcut printing in my dorm room. I’m using the thinnest paper, butter paper, way too cheap well I’m just a student, but the art still look fine since 1997! I used the blunt back of my big cutter 😅, I tried spoon but never thought about using wooden spoon tho, but it’s still works.
Thank you so much for sharing! I'm interested in printing larger linocuts and this is all very useful information. How do you get rid of the curl in the linoleum when you cut it from a roll? That's an issue I've been struggling with for some time now and I'd love some advice.
I can now see several points along the way where I am doing it wrong. Hence the results I get are hit and miss. Thank you for your generous approach and for sharing your knowledge. I now know how to achieve the deckled edge I always wanted to.
Thank you!!!! I couldn't make head or tail of the other methods with pins tabs and whatnot. This is the solution I have been looking for. Much gratitude!!
