Zine Hug Answers...
What's your favorite riso color or color combo?
It's so hard to choose, but the colors that we like the most that we currently have in our studio are Mint, Sunflower, Bright Red, and Cornflower.
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?)
Adaptability is a huge part of our risograph technical process because you never know what issues you may run into during printing, whether is has to do with certain colors not working the way you wanted them to/color drums acting up, or things not aligning as perfectly as you had hoped, etc. We've learned to expect the unexpected and that is something that is exciting about printing with the risograph for us. We (Alex & Zack) are both illustrators and were introduced to printmaking through silkscreening, so we still use more traditional methods to prepare our prints (creating illustrations by color layer, using large blocks of color instead of blending). Since risograph printing gives you the ability to play with color opacity more easily than with traditional printmaking, we're now using more color mixing, gradients, and Duotone/CMYK in our process. It's awesome to get a bunch of different color values when you blend just 2 or 3 colors together. We printed a CMYK photo book (using cornflower, fluo pink, yellow, and black) last year with Kevin Li called "Our" that was a learning process for us in terms of color balancing and using more digital methods.
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 publication we submitted to sounds about riso .online is a 2nd edition printing of Benjy Brooke's "Executive Information Packet Journal," a guidebook to the rest stops on the information super highway, somewhere in a distant future. We've been taking time recently trying to envision what the future could look like, and reading EIPJ is a good place to start imagining.
Do you have any risograph-related tips and tricks you'd like to share?
Preparation is key. Don't be afraid to change things mid-process if you think the print will benefit/experiment. Maybe this relates more to our specific machine, but very large areas of opaque color will often lead to heartbreak.
What is something that you would like to say to anyone reading this right now?
Thanks for reading and checking out sounds about riso .online. The risograph community usually has a physical presence at print shops and festivals that we are missing right now. This has been a great way to see some new risograph works and connect with everyone virtually. Hope you have fun here!!