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PRINT & SET-UP BIBLE L

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CONTENTS

INTRO / HOW IT WORKS ------3 INK COVERAGE ------17

APPLICATIONS ------4 INK COVERAGE CONT. ------18

INKS / COLOURS ------5 GRADIENTS ------19

METALLIC GOLD ------6 TEXT / TYPE ------20

OVERLAY ------7 STENCILS ------21

PAPERS ------8 STENCIL FORMATS ------22

PREPARING FILES + GLITCHES ------9 IMPERFECTIONS ------23

COMMON PROBLEMS ------10 SUSTAINABILITY ------24

FLATTENING FILES ------11 PRCING ------25

A3 LAYOUT ------12 QUOTES + EXTRA SERVICES ------26

CARD + FLYER LAYOUT ------13 TURN AROUND ------27

TRIMMING OPTIONS ------14 AMENDMENTS + PROBLEMS ------28

NAMING FILES ------15 TERMS + CONDITIONS ------29

OPACITIES ------16 PRINT DISCLAIMER / VISITATION - - - -30 THE RISOGRAPH: IONAL S The RISO works by trans- AT H N IP R P forming your artwork into a E IN It looks like a photocopier T G N stencil. Your chosen colour N E and moves as fast as one, I X T drum is then inserted into the

but works as a screenprint- D A

* riso machine, and the stencil

er; using rich spot colours Y G

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R T I and stencils to create tactile N is wrapped tightly around it. and vibrant prints, afforda- bly and with little impact to Paper is fed flat through the our environment. T ! machine, passing under the IN GLASGO rotating drum, which trans- H O W WHAT WE DO: I T fers your artwork onto the W W ? DROP BY & COLLEC O paper at high speed. Masters of the A3; RISOTTO R K S produce vibrant prints for a range of clients, from leading Stencils are made art organisations to bands and specifically for each drum brands; quickly, & creatively. and are non transferable. Years of gathered experience, coupled with in-house produc- One colour is printed at a tion allows RISOTTO to offer time, and multicoloured bespoke services with a strong prints are created by focus on design. switching out drums, then So, whether you’re looking to over printing; passing the print an art edition, master a paper through the RISO technical print challenge, or get again and again! posters pimped up - get in touch! Risograph printing was originally designed for high-volume printing in places like offices, WE PRINT A3 schools & political parties, but in the last 5 years, it has undergone a resurgence with cre- The riso is an A3 printer - so everything is sent on A3 sized atives adopting the process because of its stencils, and printed on A3 paper. Finishing services can quick and colourful results at affordable prices. be applied to create some of the following applications: The riso was designed to bridge the gap be- tween cheap and expensive print methods (from the photocopy to offset/litho), which makes it ideal for quantities of 1–2000 prints, APPLICATIONS become most cost effective at 25+ prints.

POSTERS + FLYERS

BUSINESS CARDS The process is great for graphic art ART PRINTS + EDITIONS (vector based work), typography, and illustration, MENUS + PLACE MATS but also works wonders across painting and photography, using variations of CMYK. PROGRAMMES + MAPS FOLDED CARDS + ENVELOPES PAPER BAGS + WRAP TAPE COVERS + VINYL INSERTS STICKERS + SWING TAGS ZINES + PUBLICATIONS For jobs that will require finishing services - TRIMMING / BINDING / FOLDING / COLLATING - we can either offer some services in house, We can fold A2 paper and feed it through the machine manually - but only for otherwise it will be over to you to take the small print runs. Extra costs and limitations apply, so get in touch to find out more! A3 prints onto another specialist to be finished. INKS GREEN 354U BURGUNDY 235 U WARM RED U TEAL 321 U YELLOW U AQUA BLUE 312 U The RISO inks produce a unique texture, resulting in a hand-printed and tactile finish.

The inks are soy-based and non-tox- ic, which means they can take longer to dry. The ink sits on the surface of the paper and can there- fore be prone to smudging if han- dled a lot (like newspaper).

All inks are unique to the riso pro- FEDERAL BLUE 294U HUNTER GREEN 342U VIOLET 265 U MEDIUM BLUE 286U ORANGE 021 U PURPLE 2685 U cess and colours produced cannot be represented on the web or through digital print (especially our fluro and metallic inks!) giving you a unique print results.

We therefore cannot colour match, but can offer advise on how you could work around this.

Print samples are sent out regularly, as it is important that customers can see and feel the print results in the flesh before printing for the first time. BLACK U GREY 403U FLURO YELLOW U FLURO PINK 806 U FLURO ORANGE 805 U METALLIC GOLD

We update our swatches regularly so ask us for the most up to date swatches available.

INSTALL OUR ADOBE INK SWATCHES TO EXPERIMENT WITH ALL THESE GLORIOUS COLOURS IN SWATCHES YOUR ARTWORK

FLUORESCENT INK! FLUORESCENT INK! FLUORESCENT INK! SPECIAL INK! SPECIAL INKS - METALLIC GOLD

Unlike the other riso inks, Metallic Gold prints great on black and dark paper, as well as white. It has a thicker consistency and higher opacity - so keep this in mind if using it in overlaid artwork.

As we have a two colour machine, we print two layers together in the same pass. The image below shows artwork printed in black + Metallic Gold ink. The layers were printed with the gold underneath - but the results look as though it’s ontop. This is how the metallic gold behaves when printed/layered with another colour.

If you want to avoid this, and let the other ink stand out; you could potentially knock out areas where the gold overlaps, or reduce the gold percentage to 40-50%.

GOLD LAYER PRINTED UNDER BLACK Switch on the ‘MULTIPLY’ effect in the Transparency tab when designing in adobe to see a mock up of how it will PAPER + INK OVERLAY print, and download our swatches to integrate our pallet into your workspace for further experimentation. Riso inks have a translucent quality that work well when 00% 00% overlaid and blended with other 1 1 inks. Many more colours can be + = achieved this way.

WARNING When producing prints with multiple colours/heavy cover- age, unwanted marks can occur by the feed tire, picking up ink from the previous print, and transferring it onto the next sheet of paper being fed. These marks can be difficult to remove. We therefore recom- mend no more than 4 passes, or 2 when using heavy coverage or darker colours.

TOP TIPS Use a rubber to remove any tire marks or unwanted smudges. Layout: Leave one area (either Examples of orange ink printed onto top or bottom) of A3 sheet clear various papers. Please note that ink or with little coverage. colours can change depending on what paper they’re printed on. WHITES: ALTERNATIVES: COLOURS: Cream: 80gsm

Cairn White: 120, 320gsm Canary Yellow: 80, 160gsm PAPERS Vintage Maroon: 120gsm Bright Yellow: 80, 160gsm Cyclus: 100, 140, 200, 250, 350gsm RISO inks print well on most uncoated Vintage Light Maroon: 120gsm Peach: 80, 120gsm papers, as it can be absorbed onto the Context Natural White: 150gsm Pink: 80, 160gsm surface and allowed to dry (unlike print- Marlmarque: 300gsm Munken Lynx: 120gsm, 300gsm Salmon: 80gsm ing onto coated or trace papers). Loop Granite: 120gsm Lilac: 80gsm Newsprint: 65gsm Purple: 120gsm Loop Milkweed: 120gsm Classic: 80gsm BESPOKE PAPERS Dark Purple: 120gsm WEIGHTS If you have a particular Cairn Straw Cream: 320gsm paper request, and the Super Smooth: 120gsm, 330gsm Med Blue: 80gsm Generally 80gsm - 250gsm quantities are high, we Pale Blue: 80gsm is the standard weight can order it in for you. Context Ivory: 100, 270gsm Cairn Eco Kraft: 170, 270gsm Sky Blue: 120gsm bracket that the riso will For lower runs (under Cairn Eco Grey: 140gsm respond well too. 250 A3 sheets), we Pale Green: 80gsm ask that you organise drys We stock tested papers at your paper inde- INDIAN: Cairn Dark Grey: 120gsm Green: 120, 160gsm pendently, as this often 60gsm - 350gsm but these Forrest Green: 120gsm works out more cost can be a little tricky at times Charcoal: 100gsm Loop Sandstone: 120gsm effective. Dark Grey Glitter: 120gsm as they are prone to sticking Hairy: 120gsm to the stencils or jamming, We’d prefer to test a Context Sage: 250gsm Iceberg: 80gsm new paper first, so etc. We are happy to use please send us a few Splat 1: 300gsm Steel Grey: 160gsm them for shorter runs, and sheets so that we can Metaphor Cream:120gsm with low ink coverage. ensure ink drys well, Tan: 120gsm & the machine feeds it Splat 2: 200gsm smoothly. Metaphor Hairy:100gsm Blood Red: 120gsm Petal: 300gsm Red: 80, 120gsm When ordering, add Parchment Melon: 90gsm an additional 15% Tangerine: 80gsm extra to the required Tinsel: 100gsm Download our A3 Paper quantities to cover any Parchment Pink: 200gsm Scans to mock up misprints. Mute: 300gsm FLURO: artwork and make your Our UK suppliers Parchment Grey: 200gsm Fluro Orange: 80gsm paper choices. include: GF Smith, Hairy: 120gsm Fluro Yellow: 80gsm Remember - you’re welcome Fenner, Paperback, & Parchment Blue: 90gsm Antalis. We carry Fibre: 100gsm to mix and match! extensive sample books Fluro Pink: 80gsm

in our workshop. Dye: 270gsm Colorset Nero: 170, 270, 350gsm Fluro Green: 80gsm BESPOKE PAPERS If you have a particular paper request, and the quantities are high, we can order it in for you. For lower runs (under 250 A3 sheets), we ask that you organise your paper inde- pendently, as this often works out more cost effective. We’d prefer to test a new paper first, so please send us a few sheets so that we can ensure ink drys well, & the machine feeds it smoothly. When ordering, add an additional 15% extra to the required quantities to cover any misprints. Our UK suppliers include: GF Smith, Fenner, Paperback, & Antalis. We carry extensive sample books in our workshop.

PREPARING FILES COMMON GLITCHES CAUSED BY ‘EFFECTS’

SUMMARY These ele pick this up and print visible boxes accross your artwork. If your artwork contains effects such as drop shadows, the riso will If your artwork

For print, artwork files should be: U N - ments need to be flattened and rasterised before print.

1. Flattened PDF (no layers or transparencies) F

2. Set to Greyscale / B&W L 3. Resolution = 300dpi | Size = A3 A T

4. Each colour layer saved as a separate file T E N E D

DOCUMENT SIZE: A3 (420 x 297MM)

The RISO cannot print full bleed A3 artwork

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Please leave a 10mm clear border on all prints L

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All images and content within files must be set N

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at the size intended for printing, and 300dpi. D

The risograph will automatically convert your images into halftones, so there is no need to

set bitmaps prior to print. - COMMON PROBLEM: FILES NEED ‘CLEANED’

If artwork has been previously scanned in, or has textures apllied, the riso may pick these up and print these more visibly than it appears on screen. Zooming in on Photoshop for example, might help you spot any problem areas before you send the final files. You should tidy these up unless you’d like them to print visibly as pictured on the right. Ammending the contrast or using the eraser tool can ‘clean’ these issues up.

Spotting these issues in advance and correcting any problem areas (removing any ‘dirt’) is your responsibilty. Obvisouly if we see anything on our end while processing your files, we’ll flag this up to you, as we want you to have the best possible print. As we’ve not been involved in the artwork generation, or know your preference/opinion of how the outcome should appear, it’s hard for us to gauge what is sometimes deliberate or sometimes an oversight.

We are not responsible for the artwork you send, and we process print your files to the best of our ability. Merging or flattening FLATTENING FILES IN ADOBE... layers can't be undone. So for this procedure, use a copy of your PDF. Some PDF files contain layered content + transparencies if they are created by using applications such as Adobe InDesign or Using Adobe Illustrator: Illustrator. When printing PDFs that contains layered content, the - Hide, or de-select elements that can remain riso will read each element uniquely and the printed result won’t - Finally, go to ‘Image’ > ‘Mode’ and make sure your image is ‘Greyscale’ - Go to the ‘Layer’ menu and select ‘Flatten Image’ Using Adobe Photoshop: correlate to the on-screen art. The riso will pick up on these and as vectors. print them awkwardly, resulting in visible corruptions. This is - Select only the elements that are effected, to why it’s important to Merge / Flatten layers before sending, so be flattened and rasterised. that all transparencies or effects become part of the artwork. - In the ‘Object’ menu, click on ‘Flatten Trans- parency’ - In the pop up menu, set a custom Preset to Merged layers acquire the properties of the layer into match the following. which they are merged. Flattening layers discards any layer content that isn't visible onscreen.

For Acrobat 7, 8 or later:

1. Make a backup copy of your PDF file. 2. Open your file and choose Advanced > PDF Optimizer. 3. Click the Clean Up tab OR If asked whether you want to save and continue, click Yes 4. If asked, Select: Discard User Data Discard Hidden Layer Content + Flatten Visible Layers and then click OK 5. When prompted, save the Optimized PDF with a new name 6. Open the Layers panel (choose View > Navigation Panels > Layers) 7. Click the Options menu, and select Merge Layers or Flatten Layers - Finally, in the ‘Object’ menu, click on 8. Save the PDF file and try to print it. ‘Rasterize’ and set it to greyscale + 300ppi. A3 LAYOUT FULL BLEED POSTERS For a full bleed finish, we can crop your posters once they’re done printing.

If you’d like to make your poster full-bleed, we’ll need you to A3 PAPER add 4mm bleed to all sides of the artwork, whilst retaining it within the printable area, so no important artwork is lost. UNPRINTABLE AREA

PRINTABLE AREA The cropped poster will be approx. 270 x 393mm in size

There is no need to add crop marks or registration marks as this will only reduce the finished size of your file, by making room for them within the printable area).

BLEED IS EXTRA IMAGE AREA, USED TO ENSURE A CLEAN TRIM A3 PAPER This portion of the card will be lost A3 when cut to the final size. We use it to ensures no white edges are UNPRINTABLE AREA left exposed, and the colour, image or design continues right to BLEED the edge of the card. FINISHED ART AREA DOCUMENT SIZE: A3 (420 x 297MM) Keep this area clear of all sensitive and important information that you don’t want to be trimmed of by our guillotine.

The RISO cannot print full bleed A3 artwork Please leave a 10mm clear border on all prints A3 CARDS + FLYERS LAYOUT

5MM BLEED IS REQUIRED ON ANY PRINT THAT WILL BE TRIMMED TO SIZE A3 PAPER REDUCED REDUCED CROP MARKS SHOULD BE ADDED TOO A5 BLEED (4mm) A5 PRINT A5 A5

CROP MARKS

REDUCED REDUCED A5 A5 A5

A3 PAPER

UNPRINTABLE AREA Although the A4 spreads are posi- tioned across the full area of the A3; there should be no artwork or content occupying this unprintable 10mm border area. BUSINESS CARDS TRIMMING 270mm 393mm FULL BLEED OPTIONS TRIM

Our guillotine can trim all of the following formats, as well 50mm as custom dimentions. Just set your crop marks acordingly 91mm and we’ll trim to match. Measurements may be a few mm out due to the nature of the machine, and movements in the riso’s registration. N.B. Only the diagrams in lilac require A6 crop marks on the page. Download our adobe templates A6 for layout guides for all the following formats. 148mm A6 A5 A6 105mm A6 148mm A6 297mm A6 A4 A5 A5 A6 210mm

210mm A4 A5

A6 REDUCED A5 253mm REDUCED A6 A4 121mm A6 REDUCED 121mm REDUCED REDUCED A5 A6 REDUCED A5 A6 REDUCED REDUCED REDUCED A4 82mm A6 179mm REDUCED A6 REDUCED 171mm A5 REDUCED REDUCED A6 REDUCED NAMING FILES For double sided artworks, include sides: 1. Peter_Side1_Red_A.pdf We need a file for every colour you’d like to print with, 2. Peter_Side1_Blue_B.pdf plus 1 additional file of a full colour digital proof. 3. Peter_Side2_Red_A.pdf 4. Peter_Side2_Blue_B.pdf Please specify the colour you’d like the file printed in. 5. Peter_Side1_proof.pdf (the name or pantone will do) 6. Peter_Side2_proof.pdf

For example, a two colour poster will have 3 separate files: For multiple artworks, include artwork titles:

1. Peter_Drawing_Side1_Red_A.pdf Peter_proof.pdf Peter_Red_A.pdf Peter_Blue_B.pdf 2. Peter_Drawing_Side1_Blue_B.pdf 3. Peter_Drawing_Side2_Red_A.pdf 4. Peter_Drawing_Side2_Blue_B.pdf 5. Peter_Drawing_Side1_proof.pdf This is especially important for text under 6. Peter_Drawing_Side2_proof.pdf 12pt, as in other settings it will appear pixelated! 1. Peter_Painting_Side1_Red_A.pdf 2. Peter_Painting_Side1_Blue_B.pdf 3. Peter_Painting_Side2_Red_A.pdf 4. Peter_Painting_Side2_Blue_B.pdf 5. Peter_Painting_Side1_proof.pdf 6. Peter_Painting_Side2_proof.pdf

If you are creating artwork with overlays, feel free to indicate which layer you'd like printed first (A for first, B for second etc). Without the proof file we won’t be able to see what results you’re anticipating, and therefore We generally aim to print the lightest colour first, and dark- can’t point out any potential issues or mistakes. est/heaviest coverage layer last, to reduce track marks, so we’ll You don’t need to match the colours exactly, discuss this with you if it conflicts with your desired order. It's just to give us an feel for your artwork. Sometimes simply changing the Peter_Red_A.pdf Peter_Blue_B.pdf document settings to ‘greyscale’ OPACITIES in photoshop for example, might not always be sufficient.

ARTWORK FILES 20% FOR PRINT All files are sent to the printer in grayscale, and colours BLACK are added within the printing process. 50% 50% BLACK BLACK To print solid areas of colour, artwork should be set to registration black, which is often indicated by the 100% cross-hair symbol and can found in SWATCHES panels: BLACK

100% BLACK

PRINT RESULT 20% BLACK

The riso is very sensitive and will register different shades 50% 50% BLACK of black which will be visible in the printed output. LILAC So please insure all tones of black have the same settings 100% if you intend their output to be the same. LILAC

The different opacities of greyscale, are represented as different opacities of your chosen colour: 100% BLACK ARTWORK: RED PRINT: INK COVERAGE The riso can’t print 100% ink density Too much ink coverage can cause paper to stick to the sten- across 100% of the cil/drum, which can jam the machine and tear up the paper. paper. This will stop us being able to print, and will require the art- work to be amended by you, and a new stencil to be sent - 75% costing £10 per colour.

Heavy ink can also cause extra splashes, needle marks and Large areas of solid 70% smudges on prints, as the paper is separated at an uneven colour can also cause rate. Large areas of ink set between 90-100% can result in a problems! Especially visibly varied print consistency due to ink flooding across the around the edges and stencil. top/bottom of stencil (keep one end clear)

Track marks from the feed tire can appear when prints make multiple PLEASE NOTE: passes. Marks can also These correct 75% BORDER appear on double sided layouts may still 100% prints, from pressure im- have a chance BORDER 100% of needle marks. pressions that can mark the Solid Ink PRINTING heavy bor- next sheet of stacked paper ders around the edge of the page will not75% if there is ink in this area. work.The paper will * stick to the drum due to the amount of ink around the lead edges. 85% Either reduce the opac- 85% Opacity ity to 75%, or create BORDER blocks to stop the *If marks do appear, border at both lead NEEDLE MARKS most can be minimised ends of the page. with a rubber! (looks like a scratch) These issues are especially INK COVERAGE We can advise you important to note if prints further if we feel you are double sided or have Reduce the chances of ink transfer, artwork might suffer from ink coverage multiple layers. and ensure a cleaner print: • Print using 50% coverage across the entire page. We often recommend TOP TIP inverting artwork, or Opt for thicker • Avoid large areas of ink at the using a coloured paper paper when paper feed area. instead of printing a coloured background. printing with • Limit the number of inks (passes lots of ink! made through the machine) • Reduce large areas of solid ink *On exiting the machine, prints stack to a 70-85% tint on top of each other: If the artwork is ink heavy, it can mark (create an echo • Ask to have your prints ‘Blotted’* on) the reverse of the prints.

If you require a cleaner finish, you can request that we intersperse prints with blotting paper at an additional cost. GRADIENTS RISO doesn’t print 0-10% ink well.. This is mainly an issue when printing gradients as the range is very visible. For best results - set gradients to range between 10%-90% ‘K’ (black).

For Photography that has large 10% 0% areas containing 0-10% content, results can look better if the lightest part is increased to 10%. This will prevent the unappealing ‘drop off’ that happens between 0-10%.

Setting your darkest tone to 90% is only nec- cessary for large areas of ink coverage. Set- ting it to 90% won’t visibly change the ap- pearance much, but will avoid any ‘tide’ marks or flooding appearing. These are visible inconsistencies accross the surface. TEXT / TYPE Text always prints best when set to using registration black and in vector form; which is created when working from Illustrator or InDesign.

Use normal black (100% K) for type 14pt or above to avoid excess ink.

Never create type in Photoshop, as it rasterizes it as an image, and the printed result looks rough around the edges instead of being clean and crisp.

To keep text & line art as vectors when exporting artwork; do not rasterize.

For Knock-out text, do not set type below 8pt. The printer isn’t reading it as text, but rather the pixels around the text, so be Minimum (recommended) text = 7 PT (reg. black only) careful with percentages Line Thickness minimum = 0.25 PT (reg. black only) of colour: if surrounding ink is too wet/ heavy, it The machine will struggle to accurately reproduce type can flood the text gaps, smaller than 6pt & we would recommend sticking to 7pt and too pale can result and above. Smaller text will also have legibility issues. in jaggy edges. PINK.pdf TEAL.pdf ORANGE.pdf STENCILS

Switch on the ‘MULTIPLY’ effect in the Transparency tab when designing in adobe to see a mock up of how your layers will print.

Download our swatches to integrate our ink pallet into your workspace for further experimentation. Greyscale Stencils

A TR PPIN TOP TIP SE G When printing U images, open up the mid-tones and ensure there is good contrast throughout.

There is no need to apply the halftone Increasing the width/borders on effect to your artwork as the riso will do graphics will help layers overlap

this for you. and ensure a full colour fill. Colour Prints

CMYK EFFECT: The CMYK printing process can be imitated on the riso; by using the yellow and black as normal, and substituting the Magenta for Fluro Pink and Cyan with our Blue. Alternatively other inks can be substi- tuted to create your desired pallet depending on how vibrant you’d like the output.

We have invested a lot of time and expertise in this Overlay Results area, and can separate artwork for you - ready for the 4-colour process - at a flat rate of £30 per A3. PINK + TEAL ORANGE + TEAL PINK + TEAL + ORANGE OVERLAY STENCILS OR CUTOUT STENCILS

BLUE.pdf PINK.pdf GOLD.pdf BLUE.pdf PINK.pdf GOLD.pdf Greyscale Stencils Greyscale Stencils Colour Prints Colour Prints Overlay Results Overlay Results

PINK + BLUE PINK + GOLD PINK + GOLD + BLUE PINK + BLUE PINK + GOLD PINK + GOLD + BLUE IMPERFECTIONS PRINT MARKS TIRE MARKS NEEDLE MARKS A ‘pick off needle’ is used There will be print marks, When producing prints with Riso printing doesn’t suit every job due to it’s unique within the riso to peel off especially when printing multiple colours, unwanted results, so being open to the quirks of the machine is tire-marks can occur by the the print from the print drum more than two layers, an important part of printing with us. feed tire picking up ink from when printing. Heavy ink artwork that uses heavy the previous print, and will cause the needle to The best outputs are usually designed with the riso ink, and/ or is double transferring it onto the next drag across the print leav- process in mind from the start, rather than re-working sided. Generally, the sheet being fed. When pro- ing a scratch line. artwork afterwards (although not in every case!). cleanest, crispest prints ducing double sided prints, Depending on the artwork, are; one colour, have light pressure marks caused by their visibility varies. As the riso isn’t perfect like a digital printer; your coverage, and printed on ink transfer can also occur if finished prints will have a different look and feel to mid-weight paper. there is ink in this area. what you see digitally on your computer screen. Our soy inks have similar qualities to newspaper ink, INK and can smudge if handled a lot, and each print will When printing large areas differ slightly from one to another, with small imper- of solid colour - the outcome DOUBLE SIDED PRINTS NCILS fections in registration and ink coverage. TE can appear Inconsistent in Light marks will appear S T coverage. Some ink discrep- All these quirks can be minimised by following our when printing double sided, U ancies are unavoidable and especially if one side is O print guide and finally, neatened up at the end with are an inherent part of the

heavily inked, this is caused T printing process. the help of a rubber! U by the pressure roller. We will always print the side C with the lighter coverage INK TRANSFER first. The internal rollers can REGISTRATION cause extra marks from pick- Prints are stacked on top of each other when As each colour is printed ing up ink from preprinted they come out of the Riso so heavy ink will one layer at a time, registra- image. We recommend cause transfer between the prints. Guillotining tion will never be 100% applies extra pressure and can also create having one side with lighter STENC G IL accurate, so when design- additional transfer marks. We offer an addi- coverage. S IN ing your artwork, ensure tional service to intersperse blotting sheets in P P there is room to allow for between prints as they come out. This keeps the A 2-3mm shifting. Extend RAP L E T PIN reverse side super clean. Riso ink can smudge S G R colour under line work for

easily so is best to avoid having large areas of U E

V neater results, use trapping solid colours for flyers and book covers. Use O to avoid white spaces, and spray fixatives on prints with heavy coverage avoid small details that rely to helps to minimise smudging. on registration to be 100% SUSTAINABILITY EST EN P RISOTTO takes great care in minimizing its E R impact on the environment; from daily studio R I N operations, to waste management, and sus- G tainable paper supplies. We up-cycle test T

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prints/leftovers, and recycle everything else. E

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Riso printing in itself is a highly energy effi- T cient and sustainable printing method, making for an ethical product, unmatched by other printing methods.

The cold process consumes little energy, and the riso prints with soy based (non-toxic) inks, We make all of our paper goods in our and stencils made from plant fibres. Unlike zero-waste studio in Glasgow, keeping litho printing, it only takes a single print for our transportation costs and fuel con- the stencil to be fully inked and ready to print. It uses little electricity and eliminates the need sumption to a minimum, and reinforcing for up to 100,000 litres of water and 10,000 our commitment to sustaining the power litres of alcohol (per year) consumed by a of small-scale artisan quality, as an typical mid-size printer. alternative to mass production. VAT does apply to some printed products, but not all of them. VAT is charged when a VAT-registered VAT business sells to another business, or PRICING a non-direct customer. Quotes are calculated No. of Prints Here are two basic first by the number lists of what printed 1 50 100 250 1000 products carry VAT of colours/stencils used, and which do not. For then with print quantity a full list of printed and paper selection 1 items and their VAT status please visit the VATABLE added on the end. Like HMRC site. - A cce p t ance car d s screenprinting, the initial 2 - Business car d s set-up is where most of the - C a lendar s production time is spent, 3 ZERO RATED - C e r t i f icat e s and cost is weighted. - Books - C o m p l i m ent slip s - C oup ons - Bookle t s Therefore the most 4 - D e l ive r y n o tes - B rochur e s economical jobs are ones No. of Colours - D iar ies that use few colours/ - Cat a l o g ues 5 - F o l der s stencils but output high - Dir ect o r ies - F o r m s quantities, and the more - F lye rs - Invita t i o n s - J o u r nal s - Invoic e s expensive jobs involve 6 - Mag azine s - Labels many colour stencils, at a low print quantity. - Manual s - Lette r heads - P o stcar d s RO - Maps T F M - P o ste r s R : - Sheet Mus i c A - Questionnaire s T The riso is designed to be a S

- N e w sle tte r s S £15

- Sta tione r y duplicator - so once the art E C

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P = 500 x 1 colour - N e w spaper s R - Stick e r s work is set up, it’s pennies = 250 x 2 colour - Pa m phlets - Ti ck e t s per print. Also - please note £75 that no run is too small, and - Price l i sts - Tran s parencies = 75 x 4 colour - Ti metabl e s - Envelopes we often print one-off’s! Printed on our 85gsm newsprint (house stock) | ex. VAT DELIVERY QUOTES EXTRAS Local pick up = Free UK Recorded = £12 FAST TRACK = £15 EU Recorded = £18 The riso is an A3 printer - so If you need your job ASAP, we can Rest of World = £30 everything is sent on A3 sized work extra to turn it around faster. stencils, and printed on A3 paper. BLOTTING As the complexity of all print jobs If you require a cleaner finish, opt for our blotting service. Each print is interspersed vary, we have no rigid price list with blotting paper, separating wet prints from one another, helping to soak up and we quote based on each job extra ink, and speeds up drying time. This process keeps the reverse side super individually. clean, which is recommended for prints with heavy coverage. Prices dependant on quantity. If you can provide details of the following - we'll get back to you PRINT PROOFING: with accurate estimates: Due to the RISO process, print proofs aren't common because most of the overall job cost is in the initial ’stencil making’ and set-up of the job. A proofing service therefore involves a fee of £10 per colour stencil tested. Please bare in mind this A3 PRINT QUOTE process will incur additional turnaround time, as the proofs will either be posted out to you, or a timetabled appointment will be set for you to come in to see the prints Number of colours on SIDE A: (e.g 3 colour) first hand. For very large or colour critical orders, we recommend opting for a print- Number of colours on SIDE B: (e.g 0/Blank) Copies: (e.g 250) ed proof, as this is the best way to ensure expected results. Paper: (e.g 120gsm cairn white) HIRE A DESIGNER: We specialize in connecting our clients with vetted riso-design talent to help bring Regardless of the final product, all quotes your print projects to fruition. Tell us all about your project, and we’ll review your are generated from the A3 pricing struc- information and pair you with a hand-selected designer who will work to bring your ture, so if you want to know the price for vision to print. 50 A4s, we’ll quote for 25 A3 prints + trim- ming. The A4 prints should be laid out 2UP USE OUR DESIGN TEMPLATES: per A3 sheet. Use our adobe templates to Select from a range of templates and styles for quick and beautifully printable post- ensure best results. ers, business cards and stationery. View the current range online. TURNAROUND TIMES

Riso printing takes more time than you’d imagine. It’s fast once things are set up and running, but N E unexpected issues (like technical failures or paper X jamming) happen on occasion and slow everything T

down. Print checks, drying time and alignment are D

also important to us, so we take time to produce A

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the best prints. Y

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R I So, the more layers you print the longer it takes. N

1 colour prints take 24 hrs. Add 24 hrs for each additional stencil, to calculate an If you’re tight on time, we can speed things up by shortening the drying time between layers, but this can result it additional print approximate turnaround time. marks, so consider this when proposing deadlines. Our Blotting Service (Extra paper interspersed to soak up extra ink and separate prints from one another) can also speed up drying time.

Also - we’re closed weekends! Ordering in specific paper will add roughly 5 working days. Riso printing takes more time than you’d imagine. It’s fast once things are set up and running, but unexpected issues (like technical failures or paper jamming) happen on occasion and slow everything down. Print checks, drying time and alignment are also important to us, so we take time to produce the best prints.

So, the more layers you print the longer it takes.

Also - we’re closed weekends!

AMENDMENTS + PROBLEM FILES

Once printing has started, there will be a £12 fee for every Please make sure you and your files tick all the boxes: new stencil or amendment made. You have read our Print Bible and fully understand the process

Please make sure you’ve read through our print guide and Each file is A3 in size terms thoroughly before going ahead with printing. There is No artwork or content out with the printable area Sometimes, we can’t see any problem with your file until it’s been printed. Usually this is because file has not been flat- Each file has been set to 'Greyscale' mode tened properly, small text has not been set to registration black, text has been done in photoshop - and it appears pix- Each file is under 10MB elated o artwork has not been cleaned properly and looks ‘dirty’ or pixelated. There are no transparencies or effects; your images are 'FLAT'.

If you have edited any illustrations or scanned text in photo- Small text and fine lines/logos have been set as 'registration shop - please take a look at this printed image as a potential black' and have not been rasterised. outcome, if artwork has not been ‘cleaned up’ fully.

If you have any effects such as drop shadows, or your files are made up varying elements - please take a look at this If you are unsure of anything, please ask us for advice! image to flag printed results of un-flattened artwork. We can also ammend your files for a fee.

If you have gradients in your artwork - check this quick refer- Our studio time is charged at £30 per hour. ence out to compare your artwork against, and tweak the scale to suit your desired outcome.

These issues are your responsibility to check and correct, and we cannot be held liable for this artwork set up. TERMS + CONDITIONS

* All print work to be paid for before it leaves the studio unless other- * We cannot guarantee that paper quoted in initial email cor- wise agreed. respondence will be available immediately. * A confirmed job request will be taken as order confirmation. * Every effort has been made to accurately display our prod- * Ordering prints or products from RISOTTO means that you have ucts with the correct product information and colour, however read and accepted our Terms & Conditions. we cannot guarantee that all monitor display accurate colours * If a job is later cancelled by you, any costs, such as paper ordered of the products when delivered as each monitor display differs. in, incurred to us will be charged for. * All sizes and measurements are approximate. We do try to * Work over £1000 in value requires a 50% deposit before printing make sure these measurements are as accurate as possible, can commence. however we do advise customers to consult the sizing charts * You acknowledge that all details which you provide to us for the provided on the website. Please note that sizes may differ be- purpose of ordering goods are correct, that the credit or debit card tween some items. you are using is your own and that there are sufficient funds to cover * We are unable to accept responsibility for work that is not the cost of the order. collected within six weeks of completion.

* Please ask about turnaround times. They change depending on the • If a proof is not provided (jpeg, pdf) then we will not print the time of year. work until one is received. * We accept no responsibility for missed deadlines if artwork is incor- • We are unable to accept responsibility for work that is not rectly submitted or needs to be amended. collected within six weeks of completion. * RISOTTO reserves the right at any time to revise the price of items without notice. * We use the Royal Mail and couriers such as UPS and DPD for * All orders are subject to acceptance and availability. orders within the United Kingdom. * RISOTTO Studio Ltd. reserves the rights to modify, alter, terminate or * We will use the courier service requested upon booking of a discontinue any discounts or promotions at any time for any reason job and we will insure it as appropriate. In the unlikely event of whatsoever without notice. delay or loss in the post or by a courier, we will not be held liable under any circumstances for consequential loss resulting * You are responsible for making sure that artwork that you send to from third party actions but will always do our utmost to resolve print is accurate and appropriate for publication and printing. Do not any transit issues. submit anything you know to be unlawful or harms the rights of others. * We aim to dispatch all orders (excluding out of stock items) * We will check the design and file set up to ensure your order is within 3 working days of confirmation the funds for your order printable, although we do not monitor the content. have been cleared. RISO PRINT/ VISITATION PRODUCTION NOTICE / DISCLAIMER PROJECTS

• The Risograph is not perfect like a inkjet or laser print- RISOTTO is a small operation that takes on bespoke print pro- er, and inconsistencies are inherent to the process. The jects in the margins of our primary function as a reprographics prints will look different from what you see on your com- service and stationery co. We strive to work efficiently, deliver- puter screen. ing a high quality service across all aspects of our work, and are therefore only able to take on a few bespoke jobs at a • There will be print marks, especially when printing time, scheduled on a first-come, first-serve basis. more than one layer or double sided, and registration will not be perfect, with each print varying slightly from For the time being, we have decided to stop taking any other one to the next. appointments. We regularly receive requests to visit the studio (to see samples, demonstrations or to discuss a project) and • Part of the appeal of this process should be these im- currently don't have the capacity to offer this. We have worked perfections coupled with the hand printed quality, as this hard to deliver a online resource that should cover every is the intrinsic nature of the machine and its output. aspect of your enquiry, so we urge you to explore our archives and, if you have any questions, please get in touch. • Unlike most methods of printing, Risograph spot color inks do not conform to a pantone standard (the provided Email is the best way to reach us, as we’re rarely by the Pantones are approximates. Additionally, the inks are all phone. We do our best to get back to all inquiries in a prompt slightly translucent so finished colour will vary depending manner, but may be overwhelmed during busy spells. We will on what paper you print on. reply to your message within 3 working days at most. We can be reached via e-mail at [email protected].

Delivery Address: RISOTTO, The Glue Factory, 22 Farnell Street, Glasgow, Scotland, G4 9SE, UK