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🧒🏻👦🏼 is a design studio 🔎️ that explores a diverse array of graphics, prints 📁, risograph 🔮️ and visual experiments.
Risograph printing features micro imperfections. Just as spontaneous and improvised as Jazz music, it always surprises us in a pleasant way!
As stencil printing features highly saturated colors, many graphic designers, illustrators, and other creators have employed such a technique from time to time. Technically, stencil printing has its limits in color positions. As a result, the printed production usually looks slightly misplaced. When we set up the colors, the printouts must be subtly different from our original design on the computer screen! Nonetheless, for us, these flaws become what’s so fascinating about Risograph!
Stencil printing is a monochrome printing technique that uses automatic plate-making for image processing. Unlike a printing plant’s workflow (which requires a separate process of plate-making before the plates are sent to the printers), a small amount of stencil printing is acceptable to us, and of course, we can deal with printing in a large amount, too.
The most eco-friendly way of printing
The raw materials used in Risograph printing are soybean ink and rice bran oil ink. As the ink adheres to the paper’s capillary pores, the quality of Risograph printing can be similar to that of stencil printing, preserving the original textures of the papers.
Uncoated papers only
Since the ink must adhere to the paper through capillary action, coatings on paper can hinder the ink-adhering process. As coated papers cannot absorb it completely, the ink might fade quickly. Uncoated papers refer to the ones without coatings on the surface. They are usually non-reflective and full of rich textures.
Different from the CMYK printing
Though Risograph is a monochrome printing machine, it is still possible to produce multi-color effects. However, Risograph colors aren’t as accurate as those printed with lithography, as it uses the four colors respectively (fluorescent pink/red, yellow, blue, and black), rather than the traditional CMYK (cyan, magenta,yellow, and black).
As stencil printing features highly saturated colors, many graphic designers, illustrators, and other creators have employed such a technique from time to time. Technically, stencil printing has its limits in color positions. As a result, the printed production usually looks slightly misplaced. When we set up the colors, the printouts must be subtly different from our original design on the computer screen! Nonetheless, for us, these flaws become what’s so fascinating about Risograph!
Stencil printing is a monochrome printing technique that uses automatic plate-making for image processing. Unlike a printing plant’s workflow (which requires a separate process of plate-making before the plates are sent to the printers), a small amount of stencil printing is acceptable to us, and of course, we can deal with printing in a large amount, too.
The most eco-friendly way of printing
The raw materials used in Risograph printing are soybean ink and rice bran oil ink. As the ink adheres to the paper’s capillary pores, the quality of Risograph printing can be similar to that of stencil printing, preserving the original textures of the papers.
Uncoated papers only
Since the ink must adhere to the paper through capillary action, coatings on paper can hinder the ink-adhering process. As coated papers cannot absorb it completely, the ink might fade quickly. Uncoated papers refer to the ones without coatings on the surface. They are usually non-reflective and full of rich textures.
Different from the CMYK printing
Though Risograph is a monochrome printing machine, it is still possible to produce multi-color effects. However, Risograph colors aren’t as accurate as those printed with lithography, as it uses the four colors respectively (fluorescent pink/red, yellow, blue, and black), rather than the traditional CMYK (cyan, magenta,yellow, and black).
就像爵士樂一樣，孔版印刷會在印刷過中有許多不完美的地方，有時候甚至是完全無法預料的，但這樣不可預期的印刷效果，也是它迷人之處。
孔版印刷具有非常飽和的色彩 , 是一種很常被平面設計師、插畫家...等各種創作者拿來利用的印刷技術。因為不好把握機器套色時的位置準確度，所以印出來的東西一定會有些許的錯位，讓每一份印刷品都會有點不一樣。
由於孔版印刷是一種單色的速印機，使用自動製版的方式處理影像。因此少量的孔版印刷是能夠接受的，當然要印到大量也是沒問題。
當代最環保的一種印刷
孔版印刷使用的原料是大豆油墨和米糠油墨，印刷原理是透過紙張本身的毛細孔做到附著的動作，所以在印刷的品質上能像開版印刷一般，將各種不同的紙張的特性表現出來。
必須使用無塗佈的紙材
原因就是在於它是透過毛細作用附著在紙上，所以有塗布的紙張會妨礙油墨附著，導致油墨無法吸附完全，容易掉色。無塗布的紙張指的是紙張表面沒有塗料加工，通常為不反光，手感也比較重。
不同於一般CMYK四色套印的方式
雖然為單色印刷，但是如果要做出全彩的效果也是可以的，不過顏色無法像一般平版那樣準確，因為它會是用螢光粉紅或是紅色、黃色、藍色、黑色四種顏色分別去套印的，而不是傳統的洋紅、亮黃、青色、黑色。
孔版印刷具有非常飽和的色彩 , 是一種很常被平面設計師、插畫家...等各種創作者拿來利用的印刷技術。因為不好把握機器套色時的位置準確度，所以印出來的東西一定會有些許的錯位，讓每一份印刷品都會有點不一樣。
由於孔版印刷是一種單色的速印機，使用自動製版的方式處理影像。因此少量的孔版印刷是能夠接受的，當然要印到大量也是沒問題。
當代最環保的一種印刷
孔版印刷使用的原料是大豆油墨和米糠油墨，印刷原理是透過紙張本身的毛細孔做到附著的動作，所以在印刷的品質上能像開版印刷一般，將各種不同的紙張的特性表現出來。
必須使用無塗佈的紙材
原因就是在於它是透過毛細作用附著在紙上，所以有塗布的紙張會妨礙油墨附著，導致油墨無法吸附完全，容易掉色。無塗布的紙張指的是紙張表面沒有塗料加工，通常為不反光，手感也比較重。
不同於一般CMYK四色套印的方式
雖然為單色印刷，但是如果要做出全彩的效果也是可以的，不過顏色無法像一般平版那樣準確，因為它會是用螢光粉紅或是紅色、黃色、藍色、黑色四種顏色分別去套印的，而不是傳統的洋紅、亮黃、青色、黑色。