Welcome to the wonderful world of Risograph printing! Riso, meaning ideal in Japanese, is a form of print invented in 1986 by the Japanese RISO Kagaku Corporation.
This amazing machine was initially designed as a speedy, low cost, high-volume duplicator for churches, prisons and political partie . However in the last four or five years creatives have re-claimed it's unique aesthetic as an amazing was to create beautiful, vibrant artwork.
The process is actually super simple, standing between offset lithography and traditional screen printing.
When you send your artwork to the risograph it creates a thermographic master plate from banana paper, which works as a screen for your artwork like a stencil.
This screen is then wrapped around a spot colour ink drum and soy ink is pushed through the voids. As the paper glides through the machine It whizzes over the rotating drum and imprints your artwork onto its surface.
Our risograph is a dual colour machine, which is the best one around. It means we are able to magically print, not one, but two colours in one pass. That means less drying time for us, less money for you and less emissions for the environment.
Everyone's a winner!
When choosing to print with our Risograph, you cannot only bask in the glory of your beautiful prints, you can also give yourself a big, fat pat on the back for being such a great guy and looking after this silly old world of ours. Someone’s gotta do it right? Oh don’t mind you, just single-handedly saving the world, one print at a time. No biggie.
You see, the Risograph is an extremely environmentally friendly little fella. It creates your masterpieces using soy based inks and banana paper screens, and the printing process itself is super energy efficient. Riso generates a fraction of the emissions output of your standard digital & lithograph printers.
Here at Dopple Press, being based in green ol’ Brighton, we pride ourselves on not being ignorant to our impact on the environment. We only stock 100% recycled paper, which just so happens to be A) The Risographs favourite paper to eat, and B) The most beautiful paper you’ll ever use (well we think so anyway)!
Riso printing has a unique, striking, characterful quality to it. Using a colour spectrum you can’t obtain with more common forms of print, we strongly believe it’s the lost link in the print process, and it’s our mission to give it the platform that it deserves.
Risographs were originally created for businesses. Schools, churches, prisons and political parties used it as a means of producing high volumes of reasonably priced, spot colour printing.
However, in the last five years, there has been a small community of creative print enthusiasts realising the full untapped potential of this amazing machine for high-end print and design.
If you are looking to print your poster, flyer, greetings card, catalogue, business card, fine art print, zine, album artwork, business collateral, a mad sketch of a dog you’ve always wanted to see A3 in fluro ink and you don’t want it to look like every generic print you’ve ever seen in your life then the answer is YES, you should 100% join the gang, and harness the awesome power of the Risograph.
Dopple Press is a Brighton based Risograph printing press. We are the first dedicated Riso printers in Brighton and one of only 15 in the Uk. We create prints for students, artists, architects, record shops, illustrators, events and everywhere in-between. Coming from a background in Graphic Design and Commercial Digital printing Dopple provides a strong capable base to help anyone achieve their dream print.
The name ‘Dopple Press’ originated from the German word ‘doppelgänger’ meaning to look a like but not identical. In it’s nature, this is what you can expect from the Risograph. Each technically identical image comes with it’s own quirks, whether it be from registration, ink coverage, roller transfers or one of the many other wonderful spontaneous glitches the Riso may create.
Although Risograph printing is Dopple’s bread and butter it was never the plan to become a cut and dry print house. Our passion for the Riso print process is matched only with the drive to form a community of creative, talented artists, designers, writers and more, building a collective whilst wheedling the awesome untapped power of Riso.
We love collaborating and creating as much as we love Riso.
All our papers are 100% recycled and stocked in A3.
Unless requested we try to keep things simple,
providing two beautiful stocks:
Cyclus- A flecked, textured, off-white sheet &
Revive- A smooth, bright white stock.
These are both avalible in light (100gsm),
medium (150gsm), heavy (250gsm)
and super (350gsm) weights.
If you let us know in advance, we are also happy to accommodate
any of your own personal paper. However, please remember that
we can only print on uncoated stock from 60gsm to 350gsm.
We can print as small as you like, all the way up to A3 with our Risograph. Bear in mind that a full A3 print with bleed will have a 5mm border: A3 paper size = 297 x 420mm, A3 printable area = 287 x 410mm.
In order to keep your costs down and our wastage at absolute minimum, we impose all of our prints onto A3 stock. So please be aware of that 5mm page border, and include at least 3mm bleed with crop marks on your print-ready artwork.
We will cut it all down to size for you
when the prints are ready.
As you now know, the Risograph is the print hero the world has been waiting for. However, every hero has a nemesis. Enter Dr. Registration. Getting perfect registration with 2-4 colour prints is Riso cryptonite.
Luckily here at Dopple Press we have an incredible two colour machine which minimises the margin for misregistration. We will always strive to make your print layers match up as seamlessly as possible, but slight movement and overlap within the run is to be expected. It’s one of the charms of process, making each one of your prints unique.
1. Give us a brief written description of what you are wanting to achieve: qualities, quantity, deadline and any other information you feel is imperative.
2. Artwork in PDF or JPEG format
3. Where possible, please provide packaged InDesign files with fonts and links included for us to optimise your artwork for print.
4. We will always need final visual proofs for all artwork as a guide to what you want your final print to look like.
5. All files labelled appropriately. Please label according to colour and print order i.e: ‘1-Fluro Pink’, ‘2-Navy Blue’ using these labelled greyscale files and referencing your proof, we know to print layer one in fluro pink and layer two over the top in Navy Blue to achieve your desired aesthetic.
6. You can also provide us with ready-to-print images in physical form. We are able to scan and print these on the spot, straight from within the printer.
Four simple rules with type based prints:
1. Set any type under 12pt in registration black
to get the most solid print possible.
For type over 14pt use normal black (100% K)
to avoid an inky disaster.
2. Do not set type in Photoshop (raster)
as that will pixelate everywhere.
3. Do not set type below 6pt.
4. When you layer colours on the risograph you need to
remember that if you want a true colour rather than an overlay colour,
you will want to knockout the text in white from your background layer.
Regardless of what colour you want your image to be, you need to save your images as JPEGs in greyscale at 300dpi. Please don’t use any wacky InDesign effects & or transparencies.
Two colour images:
With two colour you can send us separate greyscale layers, just as you do with your single colour print.
Duotone & Photographic images:
Duotone images are super fun way of printing your photos by superimposing one colour over another.
For this we will need your image greyscale and separated into 2 or 4 CMYK elements. These layers are then printed on top of each other to create the 2 to 4 colour process like a digital printer but with any ink colours you choose.
Bear in mind, when printing multiple layers, try to avoid heavy ink coverage as you will get ink track marks across your print.
Artwork designed specifically with the Riso in mind often works most effectively, allowing you to get the maximum potential from the machine.
Think of the Riso process like screen printing in theory. You need each colour of your artwork on separate layers within your file in order for us to print. These layers need to be exported separately in greyscale and labelled clearly with the name of the colour you'd like us to use.
Remember your opacities and don’t worry about half-tone, the machine's got that covered. P.s. Always include at least a 3mm bleed with crop marks on anything that bleeds from the edge of your document.
The paper is fed into the machine using a set of little rubber rollers so, when a print is heavily inked or layered, ink will often be picked up on these rollers and transferred onto the following prints leaving light track marks. Mostly these are very easily rubbed out using a standard rubber, but can also be avoided for the most part by not over inking your page.
Inside the machine there’s a little plastic needle that peels the print from the inky drum and allows it to pop out for you to proudly take away and show all your pals. However, heavy ink coverage causes this needle to slip and drag a line across the page leaving a mark across your lovely print.
Backing up artwork perfectly is a very delicate balance to get right. You need to stick to light ink coverage as best you can to avoid the rollers dragging light blemishes across the page.
The Riso can print 150 prints per minute. These stack up on top of each other while they're shooting out. We try our very best to monitor the print flow but, as is the nature of the job, there is likely to be some ink transfer between some of the prints depending on your quantity. Fresh Riso ink is very easily smudged. This is a blessing and a curse as, although marks often occur, they can often be rubbed out using a regular rubber.