Only just found this video. What a delight! Bought one of these last year and I LOVE IT! She was made in 1816. I did pay $400 for it but these are very rare and expensive in my country, so I consider the money well spent as she will last another 200 years I'm sure!! TFS!!
Thank you Chris. It is so useful to see it done by a professional instead of a good amateur. So many tiny things you do that make a difference. Such as the peeling off of the print rather than lifting it. BTW I have just bought a modest size nipping press for £20 which just needs the screw/platen connection renovated so they can be found cheap if you keep your eyes open.
The letters were copied using an indelible aniline ink, often seen in indelible "copy" or "railroad" pencils. Hectographic pencils used by tattoo artists are similar. They would write the original in indelible ink. Then they would press it together with a damp vellum type see-through transfer paper. The ink dye would transfer to the new paper by capillary action and would be read on the reverse side. The indelible pencils were used in the medical industry by dental and medical device practitioners to transfer anatomical marks from the patient to a plaster of paris model by similar action. The Noblot 705 was the favorite until it was discontinued several years ago. They now command a premium price of over $20 a pencil for old stock supplies. The Faber-Castell 9610 document pencil still available in the UK is about as close as you can come to a decent indelible pencil today if you want to give it a try.
Thank you, Mr. Pig! A friend just gave me an old nipping press--and now you have demystified it for me. All your videos are excellent and of great value. Again: Thanks!
Thankyou so much! It is soo wonderful to watch and listen to you talk and demonstrate. Your enthusiasm and knowledge come across so well and make me really excited about printmaking. Thankyou!!
I've got one from my grandfather, though he never told me what used it for. Completely rusted unfortunately but I've managed to put new life into it. This video is very instructive and got me really motivated to put it in good use now. Thank you!
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.
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.
I agree totally about them being seriously over-priced these days. I recently took up bookbinding as a retirement hobby and though I would love one there is no way I can afford the prices they are asking. I'm currently working on trying to make my own version out of wood with the screw being a scaffold jack. The one I have can exert up to 4 tons of pressure which is way more than would be needed for either bookbinding or relief printing I think. I reckon for all the materials it will probably come to under £20 although I'd like to add steel plates to both the top and bottom platens which would increase the cost a fair bit (probably double or more). Yes, I'd love an old one because as you said they are indeed things of beauty (as long as not 'over restored') but until either I win the lottery or find a very rich old widow that will have to remain a pipe dream.
Cheers Chris. Bought my press on Ebay for £100 and when it arrived it still had the gold laquer lines, but it took me a good three months of looking to find it. It's a thing of beauty and done nothing to it other than a light clean and oil the screw. Thanks for the practical advice, works great for Linocut too.
Thank you. I had never even heard the term nipping press. I also like your attitude about respecting the work. We are often told outright that if the activity, not just art, isn't going to make money, then it has no value. There's value in making things. There's value in doing a task well. Finally, I was alonly able to hear that the paper was Fabriano something or other. Would you tell me the name of the papers and the ink if it's not in the description box? I haven't checked yet. Happy holidays!
Terrific instruction, but the jiggling camera and the shifting focus was distracting and made the video a bit difficult to watch. May I respectfully suggest using a tripod to hold the camera steady, which should also reduce the shifting focus. Edit: I now see that your later videos have already solved the problem; bravo! I do hope my suggestion wasn't too obnoxious, as it was only meant to be helpful. I greatly appreciate the quality of your content, and the knowledge and wisdom you so generously share on your channel. Thank you. By the way, as a binder, although I use a nipping press for the purpose you explained (pressing paper or bookcloth into the joint of a book cover for good glue adherence), the more frequent use of the press, and the one from which it derives its name, is to briefly nip any freshly glued or pasted paper to bookboard to ensure thorough contact of the glued/pasted surfaces to each other. Most binders are taught to apply pressure for 5-10 seconds, then remove the laminate and place it under a flat weighted board to dry, thus freeing up the press for the next nip. (The glued/pasted laminate doesn't need nearly as much pressure to keep it flat while it dries as the press applies.) It can also be used to laminate paper to paper, board to board, and bookcloth to board, although the last is controversial, since some binders claim that too much pressure can cause the glue/paste to squeeze through the weave of the cloth. I haven't encountered that problem, and never understood the contention, since most types of bookcloth come already laminated to a paper backing that acts as a barrier to the glue/paste, and the type of bookcloth that doesn't is heavily starched for the same purpose. Thank you for posting this instruction, as it confirms my recommended application of this piece of equipment here at the school to new lino printers. I can now give the students a link to your video.
Dear Chris, loved this video so much. I share your values in how to look after and respect your tools. I am blessed with a wonderful nipping press, when I first got it, it had been abandoned in a shed, and the boards left inside had 'bonded' with the platens. Took ages of tlc to remove them. Like you the heart and soul of the press is the way its been lovingly created, and I have NO wish to destroy what is left of the original paint work. That said its still pretty dirty and I wondered if you had any advice on how to clean it up, without doing damage to the original paint and detailing? Its not totally rusted, there is still a lot of the original paint, which I want to keep. I discovered HP brown sauce very effective at removing the oxidation on the brass work on the handle ends and the end bolts and central disc areas too (sorry don't know the right terms for that). Sadly due to lack of space and health issues, Bertie as Im calling mine (the gold lines on the paint work around a black base, kind of reminded me of bertie basset layered sweets somehow.) Well poor Bertie, has been abandoned in my shed for many years too. Lovingly wrapped in bubble wrap and a bin liner over him to keep off the worst of dust n stuff. But now he's indoors and I want to show him some tlc and do a sympathetic NOT destructive clean, so I can use him, as well as admire him. Like you say, I have NO desire to do a dismantle, dip, strip n sandblast his character and history away. I don't mind he has battle scars, I admire the skill in his creation and the way he's still going strong despite all the neglect. How do I clean the crud out of the central screw and what grease do I put on there to keep in working nicely? Low on space and wondering what kind of wooden table would take the weight of this press? I'd use for bookbinding but regular household furnature isn't made for this kind of weight. Please do you have an email addy that I could contact you on to discuss this some more, if you have time? I would love to know the age of mine, the ends of the brass handles are the longer egg shape, more like Sparticus. Same 'top knot' and handle ends but the side body is a different shape. I can't lift it to see if there are any brands on the underside. It took 2 big blokes and a trolly to get it into the house. Thanks so much, this was a bit of an essay wasn't it. but really resonated with the ethics and the way you explain things.
I have one from my late father's commercial letterpress printing business. Its certainly not a thing of beauty although I have always loved it! He always told me that it was for bookbinding. I have seen something similar in a National Trust property (sadly I cant remember where) which was labelled as a press for copying letters. However I don't think it was as heavy as my nipping press and instead of the heavy bottom "platten" it had a sort of tray arrangement with sides sticking up as if to stop something (not sure what) from falling out. I have no idea if that was its intended use.
Only just found this video. What a delight! Bought one of these last year and I LOVE IT! She was made in 1816. I did pay $400 for it but these are very rare and expensive in my country, so I consider the money well spent as she will last another 200 years I'm sure!! TFS!!
Thank you Chris. It is so useful to see it done by a professional instead of a good amateur. So many tiny things you do that make a difference. Such as the peeling off of the print rather than lifting it. BTW I have just bought a modest size nipping press for £20 which just needs the screw/platen connection renovated so they can be found cheap if you keep your eyes open.
I am beginning linocut printing.And I've bought a book press. So today I watched your video. I want to say it gave me wonderful tips^^
The letters were copied using an indelible aniline ink, often seen in indelible "copy" or "railroad" pencils. Hectographic pencils used by tattoo artists are similar. They would write the original in indelible ink. Then they would press it together with a damp vellum type see-through transfer paper. The ink dye would transfer to the new paper by capillary action and would be read on the reverse side. The indelible pencils were used in the medical industry by dental and medical device practitioners to transfer anatomical marks from the patient to a plaster of paris model by similar action. The Noblot 705 was the favorite until it was discontinued several years ago. They now command a premium price of over $20 a pencil for old stock supplies. The Faber-Castell 9610 document pencil still available in the UK is about as close as you can come to a decent indelible pencil today if you want to give it a try.
Thank you Tg Wags, that is a truly magnificent explanation. Gawd bless the internet for such interactions.
Just found one today at a local market. Bought it.
Let the fun begin.
Thanks for the video
Thank you, Mr. Pig! A friend just gave me an old nipping press--and now you have demystified it for me. All your videos are excellent and of great value. Again: Thanks!
Always so interesting to watch and listen to you work, such a good tutor.
Thankyou so much! It is soo wonderful to watch and listen to you talk and demonstrate. Your enthusiasm and knowledge come across so well and make me really excited about printmaking. Thankyou!!
Yeah I love my Nipping press. Got it on the day of Lockdown here in NZ. Cleaned it up and got it some nice work off it. Now its in my Classroom.
Another cracking tutorial Chris! Thank you for the continuing insights and advice. Its really appreciated.
I've got one from my grandfather, though he never told me what used it for. Completely rusted unfortunately but I've managed to put new life into it. This video is very instructive and got me really motivated to put it in good use now. Thank you!
Thank you, sir, for passing down your vast knowledge on this channel for us. Truly. I will attempt to make good use of it.
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.
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.
Wonderful video, thanks from Portland, Oregon.
Extremely informative, excellent print and presentation. Well done! Thank you!
I agree totally about them being seriously over-priced these days. I recently took up bookbinding as a retirement hobby and though I would love one there is no way I can afford the prices they are asking. I'm currently working on trying to make my own version out of wood with the screw being a scaffold jack. The one I have can exert up to 4 tons of pressure which is way more than would be needed for either bookbinding or relief printing I think. I reckon for all the materials it will probably come to under £20 although I'd like to add steel plates to both the top and bottom platens which would increase the cost a fair bit (probably double or more).
Yes, I'd love an old one because as you said they are indeed things of beauty (as long as not 'over restored') but until either I win the lottery or find a very rich old widow that will have to remain a pipe dream.
Cheers Chris. Bought my press on Ebay for £100 and when it arrived it still had the gold laquer lines, but it took me a good three months of looking to find it. It's a thing of beauty and done nothing to it other than a light clean and oil the screw. Thanks for the practical advice, works great for Linocut too.
You're welcome Mark, I hope it brings you great joy and content.
That was so interesting. Enjoyed it .
Right on. Great once over. About to proof a woodcut with mine( uglier than yours ) and looking at bed set ups. Thx
Thank you. I had never even heard the term nipping press. I also like your attitude about respecting the work. We are often told outright that if the activity, not just art, isn't going to make money, then it has no value. There's value in making things. There's value in doing a task well.
Finally, I was alonly able to hear that the paper was Fabriano something or other. Would you tell me the name of the papers and the ink if it's not in the description box? I haven't checked yet.
Happy holidays!
Thank you!
That was great 👍🏽 ✌️
Terrific instruction, but the jiggling camera and the shifting focus was distracting and made the video a bit difficult to watch. May I respectfully suggest using a tripod to hold the camera steady, which should also reduce the shifting focus.
Edit: I now see that your later videos have already solved the problem; bravo! I do hope my suggestion wasn't too obnoxious, as it was only meant to be helpful. I greatly appreciate the quality of your content, and the knowledge and wisdom you so generously share on your channel. Thank you.
By the way, as a binder, although I use a nipping press for the purpose you explained (pressing paper or bookcloth into the joint of a book cover for good glue adherence), the more frequent use of the press, and the one from which it derives its name, is to briefly nip any freshly glued or pasted paper to bookboard to ensure thorough contact of the glued/pasted surfaces to each other. Most binders are taught to apply pressure for 5-10 seconds, then remove the laminate and place it under a flat weighted board to dry, thus freeing up the press for the next nip. (The glued/pasted laminate doesn't need nearly as much pressure to keep it flat while it dries as the press applies.) It can also be used to laminate paper to paper, board to board, and bookcloth to board, although the last is controversial, since some binders claim that too much pressure can cause the glue/paste to squeeze through the weave of the cloth. I haven't encountered that problem, and never understood the contention, since most types of bookcloth come already laminated to a paper backing that acts as a barrier to the glue/paste, and the type of bookcloth that doesn't is heavily starched for the same purpose.
Thank you for posting this instruction, as it confirms my recommended application of this piece of equipment here at the school to new lino printers. I can now give the students a link to your video.
Dear Chris, loved this video so much. I share your values in how to look after and respect your tools. I am blessed with a wonderful nipping press, when I first got it, it had been abandoned in a shed, and the boards left inside had 'bonded' with the platens. Took ages of tlc to remove them.
Like you the heart and soul of the press is the way its been lovingly created, and I have NO wish to destroy what is left of the original paint work. That said its still pretty dirty and I wondered if you had any advice on how to clean it up, without doing damage to the original paint and detailing?
Its not totally rusted, there is still a lot of the original paint, which I want to keep. I discovered HP brown sauce very effective at removing the oxidation on the brass work on the handle ends and the end bolts and central disc areas too (sorry don't know the right terms for that).
Sadly due to lack of space and health issues, Bertie as Im calling mine (the gold lines on the paint work around a black base, kind of reminded me of bertie basset layered sweets somehow.) Well poor Bertie, has been abandoned in my shed for many years too. Lovingly wrapped in bubble wrap and a bin liner over him to keep off the worst of dust n stuff. But now he's indoors and I want to show him some tlc and do a sympathetic NOT destructive clean, so I can use him, as well as admire him. Like you say, I have NO desire to do a dismantle, dip, strip n sandblast his character and history away. I don't mind he has battle scars, I admire the skill in his creation and the way he's still going strong despite all the neglect. How do I clean the crud out of the central screw and what grease do I put on there to keep in working nicely? Low on space and wondering what kind of wooden table would take the weight of this press? I'd use for bookbinding but regular household furnature isn't made for this kind of weight.
Please do you have an email addy that I could contact you on to discuss this some more, if you have time? I would love to know the age of mine, the ends of the brass handles are the longer egg shape, more like Sparticus. Same 'top knot' and handle ends but the side body is a different shape. I can't lift it to see if there are any brands on the underside. It took 2 big blokes and a trolly to get it into the house.
Thanks so much, this was a bit of an essay wasn't it. but really resonated with the ethics and the way you explain things.
I have one from my late father's commercial letterpress printing business. Its certainly not a thing of beauty although I have always loved it!
He always told me that it was for bookbinding.
I have seen something similar in a National Trust property (sadly I cant remember where) which was labelled as a press for copying letters. However I don't think it was as heavy as my nipping press and instead of the heavy bottom "platten" it had a sort of tray arrangement with sides sticking up as if to stop something (not sure what) from falling out. I have no idea if that was its intended use.
Great video! Could you talk a bit about the wool or felt blanket on the upper board?
Thanks!
That was lovely. I am getting ready to use my new etching press for lino printing without a big block attached. /Just want to get it right. Yikes.
You'll be fine Cynthia as long as there are springs between the screws and the rollers the only thing you can lose is time and paper.
Lovely introduction to a nipping press. I am using lino atm. Is it the same process when using a nipping press? Thanks :)
Hi, can this type of press be used for lino ? Tnx
Follow the Pig... Great video :-)
They are beautiful, but here in the states they want $500-$700