Throughout my image and design generation process, I envisioned printing in the Teal & Flat Gold colour inks available through Exit Press and so I made contact with the owner, Alex, to get the ball rolling on setting up my files correctly for him and to get a rough idea on how many copies I wanted and how much they would cost. I also made plans to directly print with him in at his Norwich-based studio in order to help negotiate what I wanted and also learn more about working with the Risograph printer itself.
“With digital print-production techniques dominating the design world, digital technology is now part of the DNA of printmaking evolution. The computer has becoming simply another tool in the printmaker’s proverbial tool belt…”
Williamson, C., Introduction In: Williamson, C. (2013) Low–Tech Print. London: Laurence King. pp.5
I reflected on the Risograph being a convergence of the traditional printmaking technique of screen printing and digital photocopying. Although it is known for its misalignment and somewhat problematic hiccups, texture and creative applications and layering of colours – I feel – make it a format that possesses something to compete with the more traditional printmaking processes. Many hands-on traditional printmaking processes will require learning new things everyday and seeing potentially unforeseeable results.
Speaking of printmaking in general, Caspar Williamson also noted:
“… it is this that keeps people drawn to printmaking – the unpredicatable and unique nature of mediums that can offer infinite surprises.”