Final Video

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Final Publication

Reflections 29.03.16

Today we completed the publication. We used the industrial guillotine to cut 5mm of each edge. After our difficulties with the alignment we had to make a compromise with the accuracy of the final publication. Our design used the edges and folds to dissect the atoms and graphs into pleasant and unpleasant sounds. The downside to this was that the lack of accuracy meant that a 5mm crop would cut some of the information away. We had to decide between cutting each sheet individually or biting the bullet and cutting them as a stack. Cutting each sheet creates a series of other problems in maintains an accurate A format for the folding to work properly and obviously time. As a group we decided to use the industrial guillotine and cut 5mm of each edge despite the potential loss of information. The information would still be readable and the publication would still be a nice object to hold, interact with and display. It would just be missing some of the exact finer points of information.

The industrial guillotine was a bit temperamental in the beginning but eventually we were able to cut everything to size. Each publication had 7 folds, each of those created a potential accuracy issue. Not only that but the ink, although dry, smudged during the folding process, especially the darker colours and any heavily saturated areas. I think we would have kept to the graphs and atoms and abandoned the block colours in hindsight. We folded 40 publications and decided to pick the best 30 from this to ‘publish’ as a numbered edition for submission and distribution to participants.

It was difficult to let the accuracy of the final publication slip but it was a necessary casualty of the module. During this project we have front-loaded a lot of the organization, workload and ‘exhibition’. As the project comes to an end its easy to forget the volume of research and work that has already gone into the project. However, because I am a perfectionist, I was a bit disappointed that we were not able to create a totally accurate representation. Having said that the qualities of the Risograph print are a total redeemer in terms of exploration of a new process and the haptic qualities of the final publication. I think I would have felt more confident if we had explored Risograph printing more thoroughly. Certainly we could have made it a lot easier for ourselves in the printing stages of the work. In our complicated design, we created too many variables, each with the potential to go wrong and affect the next. That’s not to say that we have not achieved a great deal with this project, certainly in terms of developing our understanding of our own process through collaboration. When else would you have to opportunity to actively try something totally out of your comfort zone and skill base.

Making

Cutting part 1. 

 

Cutting part 2.

 

Folding Part 1.

 

Folding Part 2. 

 

Edition of 30 publiations.

Leah Stewart

Leah Stewart uses Risographs as part of an exploration of natural studies, including monoprints and etching. Her prints are a visual delight of mark making and colour.

 Vessels

3 Colour Risograph

2013

Created as part of the Yuck Printhouse pop up show at the Manchester Craft and Design Centre. Printed by Hato Press

Heath

Risograph print of the meadow in the Ladies Pond, Hampstead Heath.

3 Colour Risograph 

2013 

For more of her inspirational work go to www.leahstewart.co.uk or the Hato Press

Risograph pt.2

 Alice Bowsher - Curious

Emily Rand - Cities

Jack Taylor print

Emily Rand - Trees

All books and prints available at through Hato Press

Risograph pt.1

Great Risograph printing information available at: riso.deconstructed.org.uk