About my studio

Behind the art

I'm Christine, graphic designer, nature lover, dog mom and artist behind Great Pan Studio.

Surrounded by the beautiful landscape, lakes, mountains and nature of the Salzkammergut, I create linocut prints, illustrations and other nature-inspired products in my studio in the Salzburger Land.

I am also in love with details, have a weakness for pasta, fruit & vegetables, love to capture landscapes and magical moments in nature with my camera, believe in aliens and could watch my plants grow for hours.

Do what you love 🖤

Questions and Answers

What is linocut?

The linocut is a letterpress process and is similar to the woodcut. It's sort of the extended version of a potato print 😉 A negative pattern is carved into the linocut sheet with a special cutting tool. It is then inked with an inking roller and printed on the desired medium, either by hand or using a printing press. The raised areas emit color and thus transfer the motif.

Below is a step-by-step explanation of my process.

What materials do you use?

Starting with the simplest tools and materials, I am currently equipped with the following:

Linoleum: Softcut 3mm and gray linoleum blocks

Carving Tool: Pfeil Tools

Paper: mainly handmade paper (partly self-made), but also many other types

Color: Caligo Safe Wash Relief Color and Speedball Fabric Block Printing Ink

Printing Press: Fome Etching Press

What does the name "Great Pan Studio" mean?

The name derives from the Greek shepherd god Pan. In Greek mythology, he is the protector of forests, meadows and nature.

Depicted as a hybrid of a human torso and a billy goat, there are even terms in our language that derive from him: the pan flute and the word "panic".

The world of gods and spirits has fascinated me for a long time - the mysticism behind it and the unknown. That's the magic of life.

And yes, the "studio" points to my vision of one day having a big, real studio and atelier full of creative possibilities! With shop, workshops and and and 🖤

Do you also do commissioned work?

Anyway! If I have time for it, we fit together well and I can help you to implement your ideas: Get in touch with me. I am happy!

The best way to do that is with my contact page.

What are you contributing to sustainability?

For me, one of the most important drivers is to leave our descendants an environment that is lovable and worth living in. Therefore, an ecological approach to my products and in my corporate philosophy is very important to me.

My packaging is plastic-free, I pay attention to natural materials and their origin in my products. I also donate regularly to organizations for people & animals who need help 🖤

How a linocut print is made

Have you ever wondered how my linocuts become real step by step? Here are my most important steps summarized for you :)

  • 1. Inspiration

    My greatest inspiration is nature in all its forms and facets. I love studying the structure of individual leaves, observing birds and insects in detail and leafing through books on flora and fauna. A walk in the woods can take several hours for me. But it's often the simple moments: a sunrise, a clear starry night or the sound of the sea.

  • 2. Design

    Once I've thought of a motif, I sit down at my iPad or start drawing without a plan. I love creating a small work of art piece by piece and fully enjoying the possibilities of digital illustration. Most of the time I let the result sit for a few days before continuing. The fresh, new look brings new ideas about how I can optimize the finished design.

  • 3. Transfer

    Im nächsten Schritt wird das Design auf die Platte übertragen. Es gibt viele Arten der Übertragung, für mich ist es aber am einfachsten, das Motiv per Tintenstrahldrucker auszudrucken und per Falzbein mit genügend Druck durchzudrucken. Dadurch entsteht ein gespiegeltes Abbild auf der Gummiplatte. Man kann natürlich auch direkt auf die Platte zeichnen.

  • 4. Carving

    Before I start, I sharpen my lino carving tool. After that, I usually start with the rough outer edges and work my way down to the small details. For this I always use tools of different sizes and different profiles. At the end everything is cleaned, i.e. potential interference fields are cleaned up.

  • 5. Inking

    I clean my workplace, cut or tear if necessary. Get the right size paper, paints and supplies ready, and start rolling out the paint. Once it's distributed nicely and evenly on the glass, I roll it out on the carved linocut sheet and see for the first time how the motif stands out - a magical moment!

  • 6. Printing

    I place the motif and carefully put the paper over it. Then it either goes through my printing press or - if it's a small motif, fabric or wood print - under my baren and is printed by hand. If there are very fine details in the motif, I also like to use an old wooden spoon to apply pressure there.

  • 7. Drying

    After my printing process, I put or hang up the finished linocuts in my apartment. With complex motifs or with new materials used, there can be many misprints before I am satisfied with the result. Drying varies by colour, temperature and humidity and takes approximately 1-3 days.

  • 8. Signing

    After many, many hours, the last step in the production follows: The finished prints are numbered, signed and provided with an embossing stamp. Each copy is therefore unique, which I created for you by hand with a lot of love 🖤


…in shipping

I pay attention to the environment when packaging my products and take a good look at where my materials come from.

In terms of shipping, this basically means for me: plastic-free and as natural as possible. I rely on recyclable and biodegradable materials and on those that can be easily and uncomplicatedly reused. You can continue to use my mailing bags & filling materials without hesitation.

Would it be cheaper and take less time to use plastic? Yes. Would it be compatible with my conscience? no

It is also important to me where I get my materials from. I try to work with Austrian suppliers as much as possible (or at least from Europe) and am constantly looking for alternatives and new opportunities.

I am opposed to the "it doesn't matter where it comes from, the main thing is cheap". What counts for me is: quality over quantity.

…on markets

At markets I present my prints in a cellophane foil. This is how I ensure that no moisture, dirt or unclean fingerprints end up on my works.

Although cellophane is a plastic, it is made from renewable raw materials - in contrast to the fossil raw materials used to make plastic. This makes the material unbeatable and pure cellophane can even be disposed of with waste paper or compost as it is 100% biodegradable. However, many cellophane sleeves are still covered with a fossil plastic to reduce water vapor permeability and are therefore no longer completely degradable.

For a long time I thought about doing without plastic altogether, but unfortunately it is indispensable at markets for the reasons mentioned above. In addition, my products should be 100% visible through the film and I therefore unfortunately had to rule out the use of paper film (e.g. glassine film).

For the sake of the environment

As you can see, I think a lot about my packaging and how I can do something good for the environment. Sure, I could question everything much more critically and there are certainly even "more perfect" solutions. But given the resources I have at my disposal, this is currently the best I can do.

Become part of it