RISO Print Workshop Notes

Today I attended a RISO print workshop. Before participating, I’d seen numerous zines and books produced using RISO printing. Many appreciate the retro grain and distinctive colour palette it yields, yet its true charm lies in the balance between technique and serendipity.

The technical instructor explained that RISO’s working principle lies between photocopying and screen printing. The machine creates a master plate for each ink colour, then completes the image through layered overprinting. Unlike traditional printing, every RISO print is a unique individual; slight misalignments or variations in colour overprinting become its defining characteristics. It offers high colour saturation with pronounced ink grain, resulting in a finished product possessing the texture of hand-printed work. RISO employs eco-friendly soy-based inks that dry rapidly. However, its registration accuracy is lower, and it does not support the CMYK four-colour mode. Instead, it relies on RISO-specific inks for layered printing.

When preparing files for RISO printing, layers must be pre-separated, with each layer representing a distinct colour. Each layer should be saved as a greyscale image: black areas indicate full ink coverage, greys control transparency, and white areas remain unprinted. As the machine interprets greyscale data for ink overlay, the contrast between layers directly influences the visual outcome after overprinting. Different colour combinations yield markedly distinct visual effects. For instance, overprinting fluorescent pink with cyan produces a dreamlike peachy-orange hue; blue and yellow pairings appear crisp and natural; while red and black combinations create a powerful visual impact. The technical instructor advised extensive experimentation with colour combinations prior to final printing. After printing, works require extensive flat drying time to prevent stacking-induced adhesion or colour transfer.

This time I experimented with a double-layer overprint of black and red, and the actual result proved far more vivid than the screen preview. As the technical instructor previously described, each print carries subtle variations, akin to a collaboration between the machine and chance. RISO printing has redefined my understanding of “handcraftedness” in design, reminding me that design isn’t solely about control but a dialogue with materials, equipment, and serendipity. The deviation in each finished piece seems to counter the notion of “perfection” – design doesn’t always require precision; blur and loss of control can become part of the language.