The tool I chose to analyse is the Risograph – a dull-looking, chunky, and clunky machine that uses translucent ink to create textural, layered, vibrant prints. I was also drawn to the playful but deliberate nature of its process.
I experimented with Riso’s different testing capabilities: printing with screen touch, printing with grain touch, changing frequencies and angles of colour, using the scanner’s automatic colour separation settings, and pulling out the master screen off the roll and printing by hand. I found the layering of colours and prints on sample paper very intriguing, however, I also fussed over the print’s imperfections.
Through my initial experimentations, I questioned: How can I push the boundaries of Risograph printing to develop my visual language and create a combination of my different aesthetics? How can I value these imperfections of Riso and use them to complement my practice?