It\u2019s fast, affordable and its colours are as vivid as screenprints. Designer and risograph devotee Gabriella Marcella talks about founding Riso Club, connecting device users from New York, London, Damascus, Kyiv, Lille, Lima and beyond<\/p>\n
Gabriella Marcella felt something in her brain click when she first used a risograph printer. \u201cThe process, the immediacy \u2013 it resonated,\u201d says the Scottish-Italian designer. \u201cA lot of my aesthetic comes from that machine.\u201d Many artists and creatives share that reaction, and now Marcella has curated an exhibition of international art showcasing their work at Glasgow\u2019s Glue Factory Galleries.<\/p>\n
The risograph, created in Japan in the 1980s, is a nifty printer that looks like a photocopier but creates work like a screenprinter. The company that produced it, Riso Kagaku<\/a>, was founded by Noboru Hayama, a businessman whose goal was to make intuitive and affordable printing products. Using soy inks to produce small print-runs of products with a handmade feel and distinctive style, the risograph print \u2013 or riso \u2013 has become synonymous with zines, activism and independent creatives.<\/p>\n
![](\"https:\/\/i.guim.co.uk\/img\/media\/b1dad139fc59d78a817637471adedc462ba7170d\/469_293_3217_2573\/master\/3217.jpg?width=140&quality=85&auto=format&fit=max&s=985e680882d18ef756545b3d0f9eab66\" "\\"\u2018Even")
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