COLORS

We currently have 20 different colors. We show you here a selection of scanned colors in 80% opacity in 71lpi. Please note that our color range is continuousely changing.
You find all current colors in the storyhighlights of our instagram

Yellow (Yellow U)

Fluo Orange (805 U)

Orange (021 U)

Crimson (485 U)

Fluo Pink (806 U)

Raspberry (207 U)

Purple (2685 U)

Violet (265 U)

Aqua (637 U)

Blue (3005 U)

MediumBlue (286 U)

FederalBlue (288 U)

Teal (321 U)

Green (354U)

Flat Gold (1245 U)

Metallic Gold (872 U)

Light Gray (424 U)

Black (Black U)

OPACITY

The Riso can print different shades of one color from one file. You can achieve that by using different opacities in your grayscale file. The higher the opacity is in your file, the bigger the dots will be or the closer they will be accumulated, so the color will be darker or more intense.
Here you can see the different opacities (100 to 10%) with a 71 lpi halftone in GREEN.

HALFTONES - GRAINTOUCH

The Riosgraph can print with halftones or graintouch. Halftones create different opacities or gradients with dots, that either vary in size or in spacing - it is measured in lpi (between 30-120) Graintouch creates different opacities or gradients with tiny dots that all have the same size, that accumluate to create darker or more intense coloring.

If you don’t give us any specification, we will use the following settings:

• 71 lpi: default setting.
• 43 lpi: extensive ink coverage or "newspaper look".
• 90 lpi: photographs with multiple colors
• 110 lpi: small text
• Graintouch (Dither): digital illustrations or scanned artworks with a lot of texture or gradients

INK PLACEMENT

Avoid inking the head of the paper. This causes the feeding marks and paper jams.

• Place your designs on the bottom of the page if possible.
• Do not use 100% color flat in this area.

Color Flat AREA

The risograph can't print a homogenous large color area. Avoid them. If you have a big color area, keep the opacity between 80-95% (depending on the size). Like this you will avoid a watercolor effect, wet ink-spots and paper jams.

BURN OUTS

The risograph can only print opacities between 3-97%.
If you have a photograph make sure to keep your curve between these % to avoid burnt out spots.

INACCURACY

The risograph has limits of accuracy. The overlaps can be adjusted manually in the printing process but there can always be shifts. This should be taken in account in your design process. Especially when you print double-sided, with many colors or details or design something that relys on very accurate imposition.

• Surfaces should overlap under lines.
• Don't overprint text or thin lines.

IMPERFECTIONS

Slight print marks can appear, especially when printing more than two layers or double sided. But these can easily be rubbed off with an eraser.

Track marks from the paper feeding rollers can appear, especially using heavy inking.

FONT

• Do not set type in photoshop.
• Vectorize your font to avoid any problem of pixellisation.
• Size should not go under 6 pt.
• Font under 12pt should be set in registration black (100/100/100/100)
• Over 12pt use a 100% black (0/0/0/100)

LINES

----> lines should not go under 0,25 pt.

Printing Area

The Riso MZ970 can print 2 colors in one pass on DIN A3 paper and allows a maximum print area of : 289 x 409 mm.

The print margins of the Risograph are irregular, find the measurements on the graphic below.

A3

Our risograph can print up to A3.
To spare masters and papers, impose your smaller formats on A3.

CROP MARKS & BLEED

Always add Crop Marks (within the printable area) unless your design is exactly A3 in size without bleed. We need them for cutting and printing accurately.
Bleed is printing that goes beyond the edge where the paper will be trimmed later. You need to use it, if you want to have a full-bleed print or publication. It needs to be within the printable area of the A3 and should be at least 4mm.

Resolution

The Risograph machine has a resolution of 600 dpi. Use this resolution for your images. 300 dpi will also work but for thin lines we recommand 600.

Color Mode

• No CMJN
• No RVB
• No MULTILAYER
• No BITMAP
• No Lab
• No effects in InDesign or Photoshop
• No transparency

Print Files

Printready Files are:

A3 grayscale PDFs (600dpi if possible)

one file per color

If you want a smaller format, interlock it on the A3, don't forget crop marks and 4mm BLEED (for full bleed design)
Go to the File-setup & Margins section, if you are not sure.
We can also produce printready files for you. We will charge an extra fee for that depending on the project.

Proof

Always send us a low definition of the final image of your design with superimposition of colors (pdf, jpeg or png). We need it as a reference and proof. We won’t start printing before we receive this file.

Imposition

This shows an example of a Saddle stiched 16 pages booklet >A4.

This shows an example of a Saddle stiched 16 pages booklet >A5.

Color Separation and CMYK

Riso inks are not available in CYAN or MAGENTA. To print CMYK pictures, we replace these 2 channels with colors such as BLUE or AQUA and CRIMSON or FLUO PINK.
The example below was printed in BLACK, CRIMSON, BLUE and YELLOW.

You can also make custom color-separations and print your images in any color-combination you like! The image below shows the before and after of an artwork by Malwine Stauss.

On the example below you see a printed artwork by Melek Zertal. We separated the color areas into a tritone of AQUA, FLUO PINK and YELLOW and printed the BLACK linework as an extra layer.

The image below shows a Duotone image. You can create a great effect already by only using two colors. We reccomend to use a darker and a lighter color. In this example we used TEAL and ORANGE.

We own :

• a risograph MZ970, an RZ970, and MZ779, an RZ200EO and an E201
  (22 colors available)
• a brochure maker (staples)
• a staple machine (also loop-staples)
• a stack cutter
• a coil binder
• a comb binder
• several Lumbeck Presses for glue-binding
• a round corner cutter
• hole-punchers

we stock these papers :

• Salzer EOS
  our basic and affordable paper for zines and inside pages (80-150gsm)
• Munken Pure
  A wooden free paper, smooth. Ideal for Artprints and books with high quality paper. (80-300gsm)
• Munken Print White 1.5
  Aging paper (turns yellow during time) but with an ideal sutructure for Riso-Printing. (80-300gsm)
  
• Metapaper Extrarough / Rough
  A wooden free paper with a similiar structure as the Munken Print White. (80-300gsm)
• Caribic & Carneval Offset
  varying colors and gsm. Specific colors can only be ordered in a minimum of 1.000 sheets.)
  colored Offsetpaper.

(Our paper stock is changing constantly so please tell us in advance which ones you would like to work with.)

Riso can only print on Din A3 or A4 uncoated paper between 60 and 300gsm.
You are welcome to bring your own paper if it respects these prescriptions.

We can also order in paper for you if you let us know in advance.

Riso means ideal in Japanese. The digital printer-duplicator a.k.a. Risograph was invented in 1986 by the Japanese compagny RISO Kagaku Corporation. Designed to be a high-volume, fast and low cost photocopier and marketed for schools, churches, prisons and political parties, the risograph reveals to have a very peculiar and unique aesthetic allowing beautiful color overlays. It stands between screen printing and offset lithography. Using a stencil-based printing process and real inks gives riso-prints a result similar to silkscreen with beautiful bright colors.

Apart from the great cost/efficiency, the Risograph appears to have also great ecological qualities, since the inks are soy-based, the masters are made from banana paper and it produces a very minimum amount of waste.

The file is sent from a computer to the machine or directly scanned. A master is created for each color, by burning a negative image onto a waxed sheet. This master is then wrapped around a drum and ink is forced through the voids of Wthe master. The paper runs flat through the machine while the drum rotates at high speed to print each image on the paper.

Subscribe to our newsletter :

WEB DESIGN by Charlotte Collin
UPDATE by Johanna Maierski in 2021
WEB PROGRAMMING by Rob Gordon

Copyright 2015 © Colorama
All rights reserved

COLORS

We currently have 20 different colors. We show you here a selection of scanned colors in 80% opacity in 71lpi. Please note that our color range is continuousely changing.
You find all current colors in the storyhighlights of our instagram

Yellow (Yellow U)

Fluo Orange (805 U)

Orange (021 U)

Crimson (485 U)

Fluo Pink (806 U)

Raspberry (207 U)

Purple (2685 U)

Violet (265 U)

Aqua (637 U)

Blue (3005 U)

MediumBlue (286 U)

FederalBlue (288 U)

Teal (321 U)

Green (354U)

Flat Gold (1245 U)

Metallic Gold (872 U)

Light Gray (424 U)

Black (Black U)

OPACITY

The Riso can print different shades of one color from one file. You can achieve that by using different opacities in your grayscale file. The higher the opacity is in your file, the bigger the dots will be or the closer they will be accumulated, so the color will be darker or more intense.
Here you can see the different opacities (100 to 10%) with a 71 lpi halftone in GREEN.

HALFTONES - GRAINTOUCH

The Riosgraph can print with halftones or graintouch. Halftones create different opacities or gradients with dots, that either vary in size or in spacing - it is measured in lpi (between 30-120) Graintouch creates different opacities or gradients with tiny dots that all have the same size, that accumluate to create darker or more intense coloring.

If you don’t give us any specification, we will use the following settings:

• 71 lpi: default setting.
• 43 lpi: extensive ink coverage or "newspaper look".
• 90 lpi: photographs with multiple colors
• 110 lpi: small text
• Graintouch (Dither): digital illustrations or scanned artworks with a lot of texture or gradients

INK PLACEMENT

Avoid inking the head of the paper. This causes the feeding marks and paper jams.

• Place your designs on the bottom of the page if possible.
• Do not use 100% color flat in this area.

Color Flat AREA

The risograph can't print a homogenous large color area. Avoid them. If you have a big color area, keep the opacity between 80-95% (depending on the size). Like this you will avoid a watercolor effect, wet ink-spots and paper jams.

BURN OUTS

The risograph can only print opacities between 3-97%.
If you have a photograph make sure to keep your curve between these % to avoid burnt out spots.

INACCURACY

The risograph has limits of accuracy. The overlaps can be adjusted manually in the printing process but there can always be shifts. This should be taken in account in your design process. Especially when you print double-sided, with many colors or details or design something that relys on very accurate imposition.

• Surfaces should overlap under lines.
• Don't overprint text or thin lines.

IMPERFECTIONS

Slight print marks can appear, especially when printing more than two layers or double sided. But these can easily be rubbed off with an eraser.

Track marks from the paper feeding rollers can appear, especially using heavy inking.

FONT

• Do not set type in photoshop.
• Vectorize your font to avoid any problem of pixellisation.
• Size should not go under 6 pt.
• Font under 12pt should be set in registration black (100/100/100/100)
• Over 12pt use a 100% black (0/0/0/100)

LINES

----> lines should not go under 0,25 pt.

Printing Area

The Riso MZ970 can print 2 colors in one pass on DIN A3 paper and allows a maximum print area of : 289 x 409 mm.

The print margins of the Risograph are irregular, find the measurements on the graphic below.

A3

Our risograph can print up to A3.
To spare masters and papers, impose your smaller formats on A3.

CROP MARKS & BLEED

Always add Crop Marks (within the printable area) unless your design is exactly A3 in size without bleed. We need them for cutting and printing accurately.
Bleed is printing that goes beyond the edge where the paper will be trimmed later. You need to use it, if you want to have a full-bleed print or publication. It needs to be within the printable area of the A3 and should be at least 4mm.

Imposition

This shows an example of a Saddle stiched 16 pages booklet >A4.

This shows an example of a Saddle stiched 16 pages booklet >A5.

Resolution

The Risograph machine has a resolution of 600 dpi. Use this resolution for your images. 300 dpi will also work but for thin lines we recommand 600.

Color Mode

• No CMJN
• No RVB
• No MULTILAYER
• No BITMAP
• No Lab
• No effects in InDesign or Photoshop
• No transparency

Print Files

Printready Files are:

A3 grayscale PDFs (600dpi if possible)

one file per color

If you want a smaller format, interlock it on the A3, don't forget crop marks and 4mm BLEED (for full bleed design)
Go to the File-setup & Margins section, if you are not sure.
We can also produce printready files for you. We will charge an extra fee for that depending on the project.

Proof

Always send us a low definition of the final image of your design with superimposition of colors (pdf, jpeg or png). We need it as a reference and proof. We won’t start printing before we receive this file.

Color Separation and CMYK

Riso inks are not available in CYAN or MAGENTA. To print CMYK pictures, we replace these 2 channels with colors such as BLUE or AQUA and CRIMSON or FLUO PINK.
The example below was printed in BLACK, CRIMSON, BLUE and YELLOW.

You can also make custom color-separations and print your images in any color-combination you like! The image below shows the before and after of an artwork by Malwine Stauss.

On the example below you see a printed artwork by Melek Zertal. We separated the color areas into a tritone of AQUA, FLUO PINK and YELLOW and printed the BLACK linework as an extra layer.

The image below shows a Duotone image. You can create a great effect already by only using two colors. We reccomend to use a darker and a lighter color. In this example we used TEAL and ORANGE.

We own :

• a risograph MZ970, an RZ970, an RZ200EO and an E201
  (20 colors available)
• a brochure maker (staples)
• a staple machine (also loop-staples)
• a stack cutter
• a coil binder
• a comb binder
• several Lumbeck Presses for glue-binding
• a round corner cutter
• hole-punchers

we stock these papers :

• Salzer EOS
  our basic and affordable paper for zines and inside pages (80-150gsm)
• Munken Pure
  A wooden free paper, smooth. Ideal for Artprints and books with high quality paper. (80-300gsm)
• Munken Print White 1.5
  Aging paper (turns yellow during time) but with an ideal sutructure for Riso-Printing. (80-300gsm)
  
• Metapaper Extrarough / Rough
  A wooden free paper with a similiar structure as the Munken Print White. (80-300gsm)
• Caribic & Carneval Offset
  varying colors and gsm. Specific colors can only be ordered in a minimum of 1.000 sheets.)
  colored Offsetpaper.

(Our paper stock is changing constantly so please tell us in advance which ones you would like to work with.)

Riso can only print on Din A3 or A4 uncoated paper between 60 and 300gsm.
You are welcome to bring your own paper if it respects these prescriptions.

We can also order in paper for you if you let us know in advance.

Riso means ideal in Japanese. The digital printer-duplicator a.k.a. Risograph was invented in 1986 by the Japanese compagny RISO Kagaku Corporation. Designed to be a high-volume, fast and low cost photocopier and marketed for schools, churches, prisons and political parties, the risograph reveals to have a very peculiar and unique aesthetic allowing beautiful color overlays. It stands between screen printing and offset lithography. Using a stencil-based printing process and real inks gives riso-prints a result similar to silkscreen with beautiful bright colors.

Apart from the great cost/efficiency, the Risograph appears to have also great ecological qualities, since the inks are soy-based, the masters are made from banana paper and it produces a very minimum amount of waste.

The file is sent from a computer to the machine or directly scanned. A master is created for each color, by burning a negative image onto a waxed sheet. This master is then wrapped around a drum and ink is forced through the voids of Wthe master. The paper runs flat through the machine while the drum rotates at high speed to print each image on the paper.

Subscribe to our newsletter :

WEB DESIGN by Charlotte Collin
UPDATE by Johanna Maierski in 2021
WEB PROGRAMMING by Rob Gordon

Copyright 2015 © Colorama
All rights reserved

COLORS

We currently have 20 different colors. We show you here a selection of scanned colors in 80% opacity in 71lpi. Please note that our color range is continuousely changing.
You find all current colors in the storyhighlights of our instagram

Yellow (Yellow U)

Fluo Orange (805 U)

Orange (021 U)

Crimson (485 U)

Fluo Pink (806 U)

Raspberry (207 U)

Purple (2685 U)

Violet (265 U)

Aqua (637 U)

Blue (3005 U)

MediumBlue (286 U)

FederalBlue (288 U)

Teal (321 U)

Green (354U)

Flat Gold (1245 U)

Metallic Gold (872 U)

Light Gray (424 U)

Black (Black U)

OPACITY

The Riso can print different shades of one color from one file. You can achieve that by using different opacities in your grayscale file. The higher the opacity is in your file, the bigger the dots will be or the closer they will be accumulated, so the color will be darker or more intense.
Here you can see the different opacities (100 to 10%) with a 71 lpi halftone in GREEN.

HALFTONES - GRAINTOUCH

The Riosgraph can print with halftones or graintouch. Halftones create different opacities or gradients with dots, that either vary in size or in spacing - it is measured in lpi (between 30-120) Graintouch creates different opacities or gradients with tiny dots that all have the same size, that accumluate to create darker or more intense coloring.

If you don’t give us any specification, we will use the following settings:

• 71 lpi: default setting.
• 43 lpi: extensive ink coverage or "newspaper look".
• 90 lpi: photographs with multiple colors
• 110 lpi: small text
• Graintouch (Dither): digital illustrations or scanned artworks with a lot of texture or gradients

INK PLACEMENT

Avoid inking the head of the paper. This causes the feeding marks and paper jams.

• Place your designs on the bottom of the page if possible.
• Do not use 100% color flat in this area.

Color Flat AREA

The risograph can't print a homogenous large color area. Avoid them. If you have a big color area, keep the opacity between 80-95% (depending on the size). Like this you will avoid a watercolor effect, wet ink-spots and paper jams.

BURN OUTS

The risograph can only print opacities between 3-97%.
If you have a photograph make sure to keep your curve between these % to avoid burnt out spots.

INACCURACY

The risograph has limits of accuracy. The overlaps can be adjusted manually in the printing process but there can always be shifts. This should be taken in account in your design process. Especially when you print double-sided, with many colors or details or design something that relys on very accurate imposition.

• Surfaces should overlap under lines.
• Don't overprint text or thin lines.

IMPERFECTIONS

Slight print marks can appear, especially when printing more than two layers or double sided. But these can easily be rubbed off with an eraser.

Track marks from the paper feeding rollers can appear, especially using heavy inking.

FONT

• Do not set type in photoshop.
• Vectorize your font to avoid any problem of pixellisation.
• Size should not go under 6 pt.
• Font under 12pt should be set in registration black (100/100/100/100)
• Over 12pt use a 100% black (0/0/0/100)

LINES

----> lines should not go under 0,25 pt.

Printing Area

The Riso MZ970 can print 2 colors in one pass on DIN A3 paper and allows a maximum print area of : 289 x 409 mm.

The print margins of the Risograph are irregular, find the measurements on the graphic below.

A3

Our risograph can print up to A3.
To spare masters and papers, impose your smaller formats on A3.

CROP MARKS & BLEED

Always add Crop Marks (within the printable area) unless your design is exactly A3 in size without bleed. We need them for cutting and printing accurately.
Bleed is printing that goes beyond the edge where the paper will be trimmed later. You need to use it, if you want to have a full-bleed print or publication. It needs to be within the printable area of the A3 and should be at least 4mm.

Imposition

This shows an example of a Saddle stiched 16 pages booklet >A4.

This shows an example of a Saddle stiched 16 pages booklet >A5.

Resolution

The Risograph machine has a resolution of 600 dpi. Use this resolution for your images. 300 dpi will also work but for thin lines we recommand 600.

Color Mode

• No CMJN
• No RVB
• No MULTILAYER
• No BITMAP
• No Lab
• No effects in InDesign or Photoshop
• No transparency

Print Files

Printready Files are:

A3 grayscale PDFs (600dpi if possible)

one file per color

If you want a smaller format, interlock it on the A3, don't forget crop marks and 4mm BLEED (for full bleed design)
Go to the File-setup & Margins section, if you are not sure.
We can also produce printready files for you. We will charge an extra fee for that depending on the project.

Proof

Always send us a low definition of the final image of your design with superimposition of colors (pdf, jpeg or png). We need it as a reference and proof. We won’t start printing before we receive this file.

Color Separation and CMYK

Riso inks are not available in CYAN or MAGENTA. To print CMYK pictures, we replace these 2 channels with colors such as BLUE or AQUA and CRIMSON or FLUO PINK.
The example below was printed in BLACK, CRIMSON, BLUE and YELLOW.

You can also make custom color-separations and print your images in any color-combination you like! The image below shows the before and after of an artwork by Malwine Stauss.

On the example below you see a printed artwork by Melek Zertal. We separated the color areas into a tritone of AQUA, FLUO PINK and YELLOW and printed the BLACK linework as an extra layer.

The image below shows a Duotone image. You can create a great effect already by only using two colors. We reccomend to use a darker and a lighter color. In this example we used TEAL and ORANGE.

We own :

• a risograph MZ970, an RZ970, an RZ200EO and an E201
  (20 colors available)
• a brochure maker (staples)
• a staple machine (also loop-staples)
• a stack cutter
• a coil binder
• a comb binder
• several Lumbeck Presses for glue-binding
• a round corner cutter
• hole-punchers

we stock these papers :

• Salzer EOS
  our basic and affordable paper for zines and inside pages (80-150gsm)
• Munken Pure
  A wooden free paper, smooth. Ideal for Artprints and books with high quality paper. (80-300gsm)
• Munken Print White 1.5
  Aging paper (turns yellow during time) but with an ideal sutructure for Riso-Printing. (80-300gsm)
  
• Metapaper Extrarough / Rough
  A wooden free paper with a similiar structure as the Munken Print White. (80-300gsm)
• Caribic & Carneval Offset
  varying colors and gsm. Specific colors can only be ordered in a minimum of 1.000 sheets.)
  colored Offsetpaper.

(Our paper stock is changing constantly so please tell us in advance which ones you would like to work with.)

Riso can only print on Din A3 or A4 uncoated paper between 60 and 300gsm.
You are welcome to bring your own paper if it respects these prescriptions.

We can also order in paper for you if you let us know in advance.

Riso means ideal in Japanese. The digital printer-duplicator a.k.a. Risograph was invented in 1986 by the Japanese compagny RISO Kagaku Corporation. Designed to be a high-volume, fast and low cost photocopier and marketed for schools, churches, prisons and political parties, the risograph reveals to have a very peculiar and unique aesthetic allowing beautiful color overlays. It stands between screen printing and offset lithography. Using a stencil-based printing process and real inks gives riso-prints a result similar to silkscreen with beautiful bright colors.

Apart from the great cost/efficiency, the Risograph appears to have also great ecological qualities, since the inks are soy-based, the masters are made from banana paper and it produces a very minimum amount of waste.

The file is sent from a computer to the machine or directly scanned. A master is created for each color, by burning a negative image onto a waxed sheet. This master is then wrapped around a drum and ink is forced through the voids of Wthe master. The paper runs flat through the machine while the drum rotates at high speed to print each image on the paper.

Subscribe to our newsletter :

WEB DESIGN by Charlotte Collin
UPDATE by Johanna Maierski in 2021
WEB PROGRAMMING by Rob Gordon

Copyright 2015 © Colorama
All rights reserved

COLORS

We currently have 20 different colors. We show you here a selection of scanned colors in 80% opacity in 71lpi. Please note that our color range is continuousely changing.
You find all current colors in the storyhighlights of our instagram

Yellow (Yellow U)

Fluo Orange (805 U)

Orange (021 U)

Crimson (485 U)

Fluo Pink (806 U)

Raspberry (207 U)

Purple (2685 U)

Violet (265 U)

Aqua (637 U)

Blue (3005 U)

MediumBlue (286 U)

FederalBlue (288 U)

Teal (321 U)

Green (354U)

Flat Gold (1245 U)

Metallic Gold (872 U)

Light Gray (424 U)

Black (Black U)

OPACITY

The Riso can print different shades of one color from one file. You can achieve that by using different opacities in your grayscale file. The higher the opacity is in your file, the bigger the dots will be or the closer they will be accumulated, so the color will be darker or more intense.
Here you can see the different opacities (100 to 10%) with a 71 lpi halftone in GREEN.

HALFTONES - GRAINTOUCH

The Riosgraph can print with halftones or graintouch. Halftones create different opacities or gradients with dots, that either vary in size or in spacing - it is measured in lpi (between 30-120) Graintouch creates different opacities or gradients with tiny dots that all have the same size, that accumluate to create darker or more intense coloring.

If you don’t give us any specification, we will use the following settings:

• 71 lpi: default setting.
• 43 lpi: extensive ink coverage or "newspaper look".
• 90 lpi: photographs with multiple colors
• 110 lpi: small text
• Graintouch (Dither): digital illustrations or scanned artworks with a lot of texture or gradients

INK PLACEMENT

Avoid inking the head of the paper. This causes the feeding marks and paper jams.

• Place your designs on the bottom of the page if possible.
• Do not use 100% color flat in this area.

Color Flat AREA

The risograph can't print a homogenous large color area. Avoid them. If you have a big color area, keep the opacity between 80-95% (depending on the size). Like this you will avoid a watercolor effect, wet ink-spots and paper jams.

BURN OUTS

The risograph can only print opacities between 3-97%.
If you have a photograph make sure to keep your curve between these % to avoid burnt out spots.

INACCURACY

The risograph has limits of accuracy. The overlaps can be adjusted manually in the printing process but there can always be shifts. This should be taken in account in your design process. Especially when you print double-sided, with many colors or details or design something that relys on very accurate imposition.

• Surfaces should overlap under lines.
• Don't overprint text or thin lines.

IMPERFECTIONS

Slight print marks can appear, especially when printing more than two layers or double sided. But these can easily be rubbed off with an eraser.

Track marks from the paper feeding rollers can appear, especially using heavy inking.

FONT

• Do not set type in photoshop.
• Vectorize your font to avoid any problem of pixellisation.
• Size should not go under 6 pt.
• Font under 12pt should be set in registration black (100/100/100/100)
• Over 12pt use a 100% black (0/0/0/100)

LINES

----> lines should not go under 0,25 pt.

Printing Area

The Riso MZ970 can print 2 colors in one pass on DIN A3 paper and allows a maximum print area of : 289 x 409 mm.

The print margins of the Risograph are irregular, find the measurements on the graphic below.

A3

Our risograph can print up to A3.
To spare masters and papers, impose your smaller formats on A3.

CROP MARKS & BLEED

Always add Crop Marks (within the printable area) unless your design is exactly A3 in size without bleed. We need them for cutting and printing accurately.
Bleed is printing that goes beyond the edge where the paper will be trimmed later. You need to use it, if you want to have a full-bleed print or publication. It needs to be within the printable area of the A3 and should be at least 4mm.

Imposition

This shows an example of a Saddle stiched 16 pages booklet >A4.

This shows an example of a Saddle stiched 16 pages booklet >A5.

Resolution

The Risograph machine has a resolution of 600 dpi. Use this resolution for your images. 300 dpi will also work but for thin lines we recommand 600.

Color Mode

• No CMJN
• No RVB
• No MULTILAYER
• No BITMAP
• No Lab
• No effects in InDesign or Photoshop
• No transparency

Print Files

Printready Files are:

A3 grayscale PDFs (600dpi if possible)

one file per color

If you want a smaller format, interlock it on the A3, don't forget crop marks and 4mm BLEED (for full bleed design)
Go to the File-setup & Margins section, if you are not sure.
We can also produce printready files for you. We will charge an extra fee for that depending on the project.

Proof

Always send us a low definition of the final image of your design with superimposition of colors (pdf, jpeg or png). We need it as a reference and proof. We won’t start printing before we receive this file.

Color Separation and CMYK

Riso inks are not available in CYAN or MAGENTA. To print CMYK pictures, we replace these 2 channels with colors such as BLUE or AQUA and CRIMSON or FLUO PINK.
The example below was printed in BLACK, CRIMSON, BLUE and YELLOW.

You can also make custom color-separations and print your images in any color-combination you like! The image below shows the before and after of an artwork by Malwine Stauss.

On the example below you see a printed artwork by Melek Zertal. We separated the color areas into a tritone of AQUA, FLUO PINK and YELLOW and printed the BLACK linework as an extra layer.

The image below shows a Duotone image. You can create a great effect already by only using two colors. We reccomend to use a darker and a lighter color. In this example we used TEAL and ORANGE.

We own :

• a risograph MZ970, an RZ970, an RZ200EO and an E201
  (20 colors available)
• a brochure maker (staples)
• a staple machine (also loop-staples)
• a stack cutter
• a coil binder
• a comb binder
• several Lumbeck Presses for glue-binding
• a round corner cutter
• hole-punchers

we stock these papers :

• Salzer EOS
  our basic and affordable paper for zines and inside pages (80-150gsm)
• Munken Pure
  A wooden free paper, smooth. Ideal for Artprints and books with high quality paper. (80-300gsm)
• Munken Print White 1.5
  Aging paper (turns yellow during time) but with an ideal sutructure for Riso-Printing. (80-300gsm)
  
• Metapaper Extrarough / Rough
  A wooden free paper with a similiar structure as the Munken Print White. (80-300gsm)
• Caribic & Carneval Offset
  varying colors and gsm. Specific colors can only be ordered in a minimum of 1.000 sheets.)
  colored Offsetpaper.

(Our paper stock is changing constantly so please tell us in advance which ones you would like to work with.)

Riso can only print on Din A3 or A4 uncoated paper between 60 and 300gsm.
You are welcome to bring your own paper if it respects these prescriptions.

We can also order in paper for you if you let us know in advance.

Riso means ideal in Japanese. The digital printer-duplicator a.k.a. Risograph was invented in 1986 by the Japanese compagny RISO Kagaku Corporation. Designed to be a high-volume, fast and low cost photocopier and marketed for schools, churches, prisons and political parties, the risograph reveals to have a very peculiar and unique aesthetic allowing beautiful color overlays. It stands between screen printing and offset lithography. Using a stencil-based printing process and real inks gives riso-prints a result similar to silkscreen with beautiful bright colors.

Apart from the great cost/efficiency, the Risograph appears to have also great ecological qualities, since the inks are soy-based, the masters are made from banana paper and it produces a very minimum amount of waste.

The file is sent from a computer to the machine or directly scanned. A master is created for each color, by burning a negative image onto a waxed sheet. This master is then wrapped around a drum and ink is forced through the voids of Wthe master. The paper runs flat through the machine while the drum rotates at high speed to print each image on the paper.

Subscribe to our newsletter :

WEB DESIGN by Charlotte Collin
UPDATE by Johanna Maierski in 2021
WEB PROGRAMMING by Rob Gordon

Copyright 2015 © Colorama
All rights reserved

COLORS

We currently have 20 different colors. We show you here a selection of scanned colors in 80% opacity in 71lpi. Please note that our color range is continuousely changing.
You find all current colors in the storyhighlights of our instagram

Yellow (Yellow U)

Fluo Orange (805 U)

Orange (021 U)

Crimson (485 U)

Fluo Pink (806 U)

Raspberry (207 U)

Purple (2685 U)

Violet (265 U)

Aqua (637 U)

Blue (3005 U)

MediumBlue (286 U)

FederalBlue (288 U)

Teal (321 U)

Green (354U)

Flat Gold (1245 U)

Metallic Gold (872 U)

Light Gray (424 U)

Black (Black U)

OPACITY

The Riso can print different shades of one color from one file. You can achieve that by using different opacities in your grayscale file. The higher the opacity is in your file, the bigger the dots will be or the closer they will be accumulated, so the color will be darker or more intense.
Here you can see the different opacities (100 to 10%) with a 71 lpi halftone in GREEN.

HALFTONES - GRAINTOUCH

The Riosgraph can print with halftones or graintouch. Halftones create different opacities or gradients with dots, that either vary in size or in spacing - it is measured in lpi (between 30-120) Graintouch creates different opacities or gradients with tiny dots that all have the same size, that accumluate to create darker or more intense coloring.

If you don’t give us any specification, we will use the following settings:

• 71 lpi: default setting.
• 43 lpi: extensive ink coverage or "newspaper look".
• 90 lpi: photographs with multiple colors
• 110 lpi: small text
• Graintouch (Dither): digital illustrations or scanned artworks with a lot of texture or gradients

INK PLACEMENT

Avoid inking the head of the paper. This causes the feeding marks and paper jams.

• Place your designs on the bottom of the page if possible.
• Do not use 100% color flat in this area.

Color Flat AREA

The risograph can't print a homogenous large color area. Avoid them. If you have a big color area, keep the opacity between 80-95% (depending on the size). Like this you will avoid a watercolor effect, wet ink-spots and paper jams.

BURN OUTS

The risograph can only print opacities between 3-97%.
If you have a photograph make sure to keep your curve between these % to avoid burnt out spots.

INACCURACY

The risograph has limits of accuracy. The overlaps can be adjusted manually in the printing process but there can always be shifts. This should be taken in account in your design process. Especially when you print double-sided, with many colors or details or design something that relys on very accurate imposition.

• Surfaces should overlap under lines.
• Don't overprint text or thin lines.

IMPERFECTIONS

Slight print marks can appear, especially when printing more than two layers or double sided. But these can easily be rubbed off with an eraser.

Track marks from the paper feeding rollers can appear, especially using heavy inking.

FONT

• Do not set type in photoshop.
• Vectorize your font to avoid any problem of pixellisation.
• Size should not go under 6 pt.
• Font under 12pt should be set in registration black (100/100/100/100)
• Over 12pt use a 100% black (0/0/0/100)

LINES

----> lines should not go under 0,25 pt.

Printing Area

The Riso MZ970 can print 2 colors in one pass on DIN A3 paper and allows a maximum print area of : 289 x 409 mm.

The print margins of the Risograph are irregular, find the measurements on the graphic below.

A3

Our risograph can print up to A3.
To spare masters and papers, impose your smaller formats on A3.

CROP MARKS & BLEED

Always add Crop Marks (within the printable area) unless your design is exactly A3 in size without bleed. We need them for cutting and printing accurately.
Bleed is printing that goes beyond the edge where the paper will be trimmed later. You need to use it, if you want to have a full-bleed print or publication. It needs to be within the printable area of the A3 and should be at least 4mm.

Imposition

This shows an example of a Saddle stiched 16 pages booklet >A4.

This shows an example of a Saddle stiched 16 pages booklet >A5.

Resolution

The Risograph machine has a resolution of 600 dpi. Use this resolution for your images. 300 dpi will also work but for thin lines we recommand 600.

Color Mode

• No CMJN
• No RVB
• No MULTILAYER
• No BITMAP
• No Lab
• No effects in InDesign or Photoshop
• No transparency

Print Files

Printready Files are:

A3 grayscale PDFs (600dpi if possible)

one file per color

If you want a smaller format, interlock it on the A3, don't forget crop marks and 4mm BLEED (for full bleed design)
Go to the File-setup & Margins section, if you are not sure.
We can also produce printready files for you. We will charge an extra fee for that depending on the project.

Proof

Always send us a low definition of the final image of your design with superimposition of colors (pdf, jpeg or png). We need it as a reference and proof. We won’t start printing before we receive this file.

Color Separation and CMYK

Riso inks are not available in CYAN or MAGENTA. To print CMYK pictures, we replace these 2 channels with colors such as BLUE or AQUA and CRIMSON or FLUO PINK.
The example below was printed in BLACK, CRIMSON, BLUE and YELLOW.

You can also make custom color-separations and print your images in any color-combination you like! The image below shows the before and after of an artwork by Malwine Stauss.

On the example below you see a printed artwork by Melek Zertal. We separated the color areas into a tritone of AQUA, FLUO PINK and YELLOW and printed the BLACK linework as an extra layer.

The image below shows a Duotone image. You can create a great effect already by only using two colors. We reccomend to use a darker and a lighter color. In this example we used TEAL and ORANGE.

We own :

• a risograph MZ970, an RZ970, an RZ200EO and an E201
  (20 colors available)
• a brochure maker (staples)
• a staple machine (also loop-staples)
• a stack cutter
• a coil binder
• a comb binder
• several Lumbeck Presses for glue-binding
• a round corner cutter
• hole-punchers

we stock these papers :

• Salzer EOS
  our basic and affordable paper for zines and inside pages (80-150gsm)
• Munken Pure
  A wooden free paper, smooth. Ideal for Artprints and books with high quality paper. (80-300gsm)
• Munken Print White 1.5
  Aging paper (turns yellow during time) but with an ideal sutructure for Riso-Printing. (80-300gsm)
  
• Metapaper Extrarough / Rough
  A wooden free paper with a similiar structure as the Munken Print White. (80-300gsm)
• Caribic & Carneval Offset
  varying colors and gsm. Specific colors can only be ordered in a minimum of 1.000 sheets.)
  colored Offsetpaper.

(Our paper stock is changing constantly so please tell us in advance which ones you would like to work with.)

Riso can only print on Din A3 or A4 uncoated paper between 60 and 300gsm.
You are welcome to bring your own paper if it respects these prescriptions.

We can also order in paper for you if you let us know in advance.

Riso means ideal in Japanese. The digital printer-duplicator a.k.a. Risograph was invented in 1986 by the Japanese compagny RISO Kagaku Corporation. Designed to be a high-volume, fast and low cost photocopier and marketed for schools, churches, prisons and political parties, the risograph reveals to have a very peculiar and unique aesthetic allowing beautiful color overlays. It stands between screen printing and offset lithography. Using a stencil-based printing process and real inks gives riso-prints a result similar to silkscreen with beautiful bright colors.

Apart from the great cost/efficiency, the Risograph appears to have also great ecological qualities, since the inks are soy-based, the masters are made from banana paper and it produces a very minimum amount of waste.

The file is sent from a computer to the machine or directly scanned. A master is created for each color, by burning a negative image onto a waxed sheet. This master is then wrapped around a drum and ink is forced through the voids of Wthe master. The paper runs flat through the machine while the drum rotates at high speed to print each image on the paper.

Subscribe to our newsletter :

WEB DESIGN by Charlotte Collin
UPDATE by Johanna Maierski in 2021
WEB PROGRAMMING by Rob Gordon

Copyright 2015 © Colorama
All rights reserved