Share 1-3 things about your technical process. (ie. how do you color separate?, how do you decide which colors, binding method, or paper to use?, is your process traditional, digital, or both?, if it's collaborative what does the back and forth look like?)
It's definitely collaborative for us! People send us a range of preparedness of files. Often times we do all of the color separating because we have the tools like Photoshop and the experience. We work work a lot with first time zinester and folks new to risographing. Even if the files are perfectly separated we have to play with the opacity to get the perfect ink level on the risograph. The back and forth looks like a lot of very sweet emails with a ton of questions, exclamation points, and thank you's / sorry's on both ends. Regarding paper and binding, we like to offer suggestions and options! Same for ink colors - we have a ton of options and like the decision making to be collaborative so that the artists we work with have the agency they want to over the look of their final project.
Share 1-3 things about your creative/conceptualizing process.
It's always very collaborative. Irrelevant Press is a collective, so all creative decisions are made between the four of us (often via group text). Conceptualizing is often a solo project that happens before hand. All of our projects get input from everyone in the collective though. We also do a lot of projects with outside artists and take the same approach.
What did you have on your mind when you were working on this project/piece (or in general)? (ie. Does your work (this or other) relate to a particular current movement or concept?)
The zine Between Us Two was especially exciting for us because it was collaborative in both process and authorship. The artist, Wei Keon, asked us if we would write the text to accompany his photos in the zine. The zine depicts stills from the Singaporean film-makers piece, Between Us Two, which is a story of queerness and family. Mollie, Irrelevant Press co-founder and Wei's collaborator on the project, had never met the artist, so the words that she used for the poem were the first words that came to mind when engaging with the piece. To her the poetry is about romance, longing and secrecy.
Do you have any risograph-related tips and tricks you'd like to share?
Our biggest learns that we implement every time are- plan for misregistration, do not use over 80% opacity in a solid area of ink, let your prints dry as long as possible, and embrace imperfections.
What is something that you would like to say to anyone reading this right now?
Do not be scared to give zine making or risograph printing a try! It's always worth it!