DRAFT 1
The medium 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 interested in exploring the relationship between digital and analogue through the physical process of a digital screen-printer. I was also drawn to the playful but deliberate nature of its process.
I found the Risograph challenging and gratifying in the way it helped me let go of some of the control, print without a precise plan, and allowed room for some happy mistakes, bringing in various perspectives. I expected each subject’s print to look the same; however, the outcomes were unpredictable with the misalignments and varied colour saturations. In addition, the Risograph added an instinctive and spirited nature to my work through the grainy texture and unique character of each print. It was magical to see the colours react to each other and the subtle layering that the experimentation with the masters allowed.
Through these iterations, I question: 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?
DRAFT 2
Following last week’s experimentations, I decided to move my inquiry forward by using my imperfect tool – the Risograph – to create a perfect copy of a photograph, keeping in mind its textured and layered qualities. I realised that Riso’s limitations encourage more creativity. Instead of getting frustrated with its imperfections, I decided to embrace its unpredictability and focus on how the textures and vibrancy of the colours added more depth to my work and made it more engaging.
Using the Conditional Design Workbook as a reference to further interrogate my practice provided me with a framework to analyse my methodology. I was particularly fascinated by this sentence, “Process trumps product, that logic is their guiding method, and that they embrace external influences, which they ‘input’.” (Maurer, 2013, p. iii). I decided to approach my process with the thought that the strength of an artwork lies as much in the steps taken to create it as it does in the outcome.
I experimented with various colourways and changed the order in which they would be layered. Each print was slightly different from the one before and had a unique character and colouration. Eventually, I achieved an outcome close to what I was hoping for. This iterative process resulted in a genuine representation of my subject, not identical in the visual form but rather its feel. Moving forward, I would like to incorporate Riso into my practice and use it as a guiding tool to elevate my work.
DRAFT 3
While I started this project with a particular set of expectations, my process and thoughts evolved with the various iterations that challenged the perceptions of the subject. This week I experimented with the same collection of colourways on the Riso to create my perfect copy of my Not just a Seat photograph. I added colour swatches to each iteration as a noticeable element to easily differentiate them from each other. Like the previous week, I struggled with some of the limitations of Riso and became interested in researching how other artists take advantage of unpredictable mediums to inform their work.
In an interview with Design Anthology, ceramicist Lubna Chowdhary talks about how she “appreciates the accidental results and details that traditional methods generate.” A glance at her work further expanded my thought that limitations and constraints are essential to both the process and the outcome. When asked to describe the design language of her work, she says, “I look for ways to forge relationships between disparate entities, patterns, and visual references, creating in the process an ambiguous interplay between the familiar and the unrecognised.” I think the Riso explores this interplay boundlessly, with its misalignments and unpredictability in colour saturation, and that is what adds character to its unique tactile nature.
I have come to love the Risograph process. Once I acknowledged its technicalities, I realised how much space there is to experiment and be playful with the process. Every print has a slightly different finish, capturing layers of textures and colours. I was keen to see how my practice would translate into this medium. It was gratifying to see how the unpredictable organic nature of the Riso complemented my creative process. Its various facets challenged the possibilities of print.
My experience of this brief has been an experiment in the art of gathering different perspectives. The approach of appreciating the “accidental results” has been critical to my process and has allowed me to enjoy each iteration. Without this practice, I would have spent a lot of my time trying to create the “perfect” copy in a traditional sense and would never have moved forward from my initial iteration. Instead, the unexpected nature of the tool gave my process some clarity, creating a narrative that complemented my inquiry.
REFERENCES
Maurer, L. et al. (2013) ‘Conditional Design Workbook’. Amsterdam: Valiz, pp. ii-xiv
Thomas, B. (2019) ‘In conversation with Ceramicist Lubna Chowdhary’, Design Anthology.
Available at: https://design-anthology.com/story/lubna-chowdhary/