WHAT IS RISOGRAPH PRINTING?
Risograph printers may resemble photocopiers at first glance, sharing features like a scanning bed. However, their internal mechanisms operate differently, as a stencil duplication process similar to screen printing.
Riso duplication machines were initially designed in the 1980s to address the demand for rapid and cost-effective printing in institutional settings such as schools, churches, and businesses. They were specifically created to handle high-volume projects, often surpassing 1,000 copies, while maintaining efficiency and affordability.
Despite its limitations, Risograph has gained popularity in recent years among art and design communities who utilize it as a middle ground between digital and offset printing. The vibrant colours achieved with rice-bran oil inks, coupled with the unpredictable and imperfect nature of the printing process, add to its distinctive charm and appeal.
INSIDE THE RISOGRAPH
Risograph digital duplicators utilize a thermal technology to convert an original (a digital image file from the computer or document scanned directly on the glass) into intricate perforations on a stencil sheet. This stencil is then wrapped around an individual ink drum which contains rice-bran oil ink in a single colour. As the drum rotates at high speed, the pressure rollers push the ink through the stencil and onto the paper, which passes flat through the machine. ► Swipe through to see elements of the printing process in action. ►
PRINTING WITH MONIKER PRESS
Each Riso machine has quirks and finickiness that make them unique (and sometimes challenging) to operate.
Moniker Press is equipped with two printers. Our primary machine, AURO, is a wonderful MZ990 duo-drum that has the capability to print two colours in a single pass and is used for all print orders. VERN, our first Riso printer, was adopted in 2014 and has been a trusty RZ220u workhorse since, mainly used for small studio projects that require black ink and Flyer Friday events. (EDDY the crooked MZ has retired for now.)
Risograph printing can encompass a vast array of printed materials, allowing for endless creative possibilities. Whether you require posters, flyers, stickers, zines, inserts, menus, business cards, album packaging, paper bags, envelopes, art prints, greeting cards, postcards, calendars, or any other unique print product (you name it), our Risos are ready to bring your ideas to life!
RESTRICTIONS / POTENTIAL IMPERFECTIONS / UNPREDICTABILITY
Riso printing embraces the beauty of imperfection, adding a unique charm to each print. Please take the following into consideration when deciding if risograph is the right medium for your project:
Mis-registration
Due to the nature of the Risograph, slight misalignment or registration errors may occur between colors or layers. We embrace these quirks as they contribute to the overall aesthetic.
Trapping is a design technique that helps minimize the visibility of mis-registration between colors, consider implementing in your design if you want to reduce the appearance of shifting between layers in your prints.
Shifting alignment on prints can cause irregularities in the final trim. Adding correct bleed and safe zone to your design ensures that nothing unintended gets trimmed off.
Pickup Needle Marks
Pickup needle marks are a tiny tear in the sheet of paper that may occur as the paper is carried through the machine. Typically the marks are trimmed off during post-production, except for full 11×17″ sheet size.
Ink Transfer
Risograph ink consists of ricebran oil, water, and pigment. As the ink dries, the moisture evaporates, and the remaining components are absorbed into the paper. However, a thin layer of residue is left on the surface, which may smudge or transfer onto adjacent pages. Typically we aim for a 12-24 hour drying period between ink layers and longer for double sided prints.
To minimize ink transfer, it is beneficial to allow for extra drying time and choose the appropriate paper. It is also important to consider the handling of your prints during the production process and as a finished product. Heavy ink coverage on a zine cover or fold line can increase the risk of smudging in those areas.
Roller Marks
Roller marks occur when ink is transferred to the rubber wheels that feed the paper through the machine. These marks are more likely to appear when there is heavier ink coverage in the center or on the sides of the paper, or when the print requires multiple passes through the machine. In most cases, they can be easily removed with an white eraser.
Ink Coverage
Excessive ink coverage can cause the paper to stick to the drum, leading to jams, mechanical errors and roller marks on the printed output. To prevent these issues, it is recommended to use textures, gradients, or other design elements that break up the solid color areas. Or alternatively, adjusting the opacity levels of the colors to 90% or below can help mitigate any potential problems and result in better appearing prints.
Double-sided printing is very doable just has the increased risk of the aforementioned imperfections.
Colour Variation + Texture
Ink colors produced by Riso will differ from what you see on your screen and in your digital proof. Ink batches can vary slightly in color, even within the same color name, which may result in subtle differences between prints. Additionally, as ink ages, it can undergo slight changes in color saturation or hue. Different Risograph printer models may also have variations in color reproduction.
Texture: Risographs have a unique and unpredictable way of duplicating textures and grain in artwork.
EXPLORE THE PRINT LOG
