Printing on a Risograph is a very unique experience. Read on for a thorough walk-through.
The machine works by digitally producing a stencil (made from banana paper), which is wrapped around an ink drum and then duplicates an impression of the image onto paper by rolling it over the drum, through the machine. It’s all automatic, like a photocopier.
It prints one or two layers/colours at a time, which means if you want to print more than two colours, you need to feed the paper through the machine as many times as is needed.
With the ME9350 we can print on many different paper stocks (up to 300gsm).
The Riso wasn’t designed to be an artistic tool, but it has been adopted as such by people looking for affordable methods of colour reproduction, and people looking for less mass-produced methods of printing. The machine’s flaws, such as slight mis-registry and a sometimes uneven coverage of ink over solid blocks, are often embraced by its users.
The Rizzeria ink colours are:
The inks are soy- and water-based, and more like paint than ink.
The machine prints in spot colour, which makes colour matching difficult (if you’re doing a project where you need to match colours precisely, it is best to start with the Riso colours and build around that).
Save up your work as pdfs (no compression) at a minimum of 300dpi. Separate each part of the image that you want to print in different colours onto different files. Save each file with the name of the colour plus the page number (or back/front) and with a number that indicates when that layer should be printed – e.g. for a blue layer printed on the front of a double-sided paper (when the blue ink should be printed first), name it blue_front_1.PDF.
Convert the colours into greyscale, with 80% saturation for full coverage (ONLY if you have very large, solid blocks of ink on the page – most people will not need to do this) and less for lighter shades of colour. Make sure that if you want a bright colour that you are printing with an image that is 100% black. If you convert a lighter colour (for example, yellow) to grayscale it will end up about 50% black. You need to make it 100% black if you want it to be the brightest yellow possible.
The machine prints well on a variety of uncoated stocks. It’s best to keep weights under 300gsm, and above 60gsm (like newsprint).
Line art images (1-bit tifs) should be scanned at a minimum 600dpi (1200dpi preferred) and at the actual size to be printed.
Registration & Trapping
Allow for 2mm trapping.
Print Size, Paper Size
The maximum printable area is 297mm x 412mm with a 4mm border.
The maximum paper size is 345mm x 430mm.
Internal rollers can leave marks, which are erasable.
Ink density will vary and be a bit patchy/noisy over solid shapes.
The machine can be finicky on images with large amount of coloured areas.
The machine can be finicky. Being ready to accept the eccentricities of the machine is an important part of printing on the Riso.
Even when dry, the soy ink can smudge a bit, rather like newspaper print. A plain eraser can take the smudges off, and I’ve found varnishing prints with heavy coverage helps to minimise smudging.
Printing on the Riso can take a bit longer than you’d imagine. It is fast, once things are set up, but if you’re tight on time, remember to factor in drying time between layers and allow for errors in registration if it is tight on your work. Remember that you can book more than one hour at a time.
But don’t be scared! Check out our samples box on site, and our Instagram to see what beautiful works have been printed with us.