Paper Size

The maximum paper sheet size for all Risograph printing is 11” x 17” (tabloid), and we can produce any custom size smaller than tabloid.

Printable Area

The maximum printable area is 10.5” x 16.5”. We require 0.25” of empty space on all page edges. To achieve the effect of an image that extends to the very edge of the page see description of “Bleed” below.

Bleed

If you want your image to go right to the edge of the page, you will need to add 0.125” of bleed and the page will have to be trimmed before delivery.

Publication Size

The maximum size of a publication (perfect bound, saddle stitched, or sewn) is 8” x 10”. Price breaks occur at sizes under 5” x 8”. We can produce publications at any custom size.

Ink Coverage

Risograph printers are not well suited to print 100% ink density across 100% of the paper. Full ink coverage at the top, bottom, and edges of the paper can cause problems. For this reason, we may need to screen the ink density at 90% or request file modifications. Consult with us when preparing files with heavy ink coverage.

Screen (Halftone Dots)

Ah, that classic old comic book look! The halftone dot is a hallmark of the Risograph printing process. We can print large dots (38 LPI), medium dots (71 LPI), or small dots (100-200 LPI) for a finer resolution image.

Graintouch (aka Stochastic Screening or FM Screening)

If you want an alternative to a classic Halftone, “Grain-Touch” is a randomized diffusion dither pattern that works very well with gradients and water-colour style illustrations. Its randomized character makes registration a little looser and livelier, but it avoids creating moire patterns, obscures the halftone dot and adds its own unique grain texture.

Overprinting Ink

One of Riso’s most magical qualities comes from combining standard ink colours to create new, unique combinations. By printing one ink overtop of another we are able to achieve an enormous range of new colours. You can estimate ink interactions in Adobe software by applying “transparency > blend > multiply”. For accurate results, please consult our Colour Chart (available for purchase at our online shop).

CMYK

Risograph does not use standard process colours. To achieve near-CMYK results, we use: Blue or Aqua for the Cyan layer, Bright Red, Bubblegum, or Fluorescent Pink for the Magenta layer, Yellow or Sunflower for the Yellow layer, and Black inks. Sometimes we use alternative colour models to create unexpected and dynamic results.

Separations

We prefer that you deliver your multicolour artwork and publication files as separate layers accompanied by a digital composite. In some instances can assist you in creating separations of your files (See Riso Consulting and Prepress Services above). To learn more about separations, head over to Pennsylvania-based Risolve’s incredible file set-up video tutorial. https://risolvestudio.com/pages/file-set-up

Resolution

300dpi Minimum for Raster images, 600dpi for Bitmaps, OR uncompressed Vector-based Illustrations and typography. The Riso is capable of printing bitmaps, rasterized images, and vector type and shapes all at the same time if properly set-up and exported as a PDF file. When exporting to PDF, please ensure that you don’t compress the file so as to preserve all elements in their native state.

Proofing

We do not provide proofs for small jobs. Proofs are available for purchase upon request at a rate of $10 per page per colour. If you want a publication proof, it’s best to set-up a selection of elements on a single tabloid page.

File Types

We prefer that files be exported as high-resolution, print-ready PDFs. Please include bleed where desired. For publications, provide consecutive pages and do not export as spreads. Do not tile artworks on a single page. Please make sure your file’s elements are assigned to their appropriate spot colour (see Our Colours for relevant Pantone numbers).

Quotes

Quotes are available upon request and are valid for 30 days from receipt. Estimated quotes are based on the stated details of your job and are subject to change if your submitted files differ from the details of your request.

Approval & Confirmation

Your submission of a print-ready file serves as approval for us to begin production on your job. We carefully review all files before printing to ensure optimal results. Where possible, we provide feedback on production concerns. However, all corrections to your files remain your responsibility and the submission of new files may delay your timeline.

Payment

All jobs must be paid-in-full upon pickup/before shipping. Jobs over $300 require 50% deposit before production begins. We can provide 30-day payment terms to institutions. We accept cash, cheque, e-transfer, and Visa (subject to an additional charge of 3.4%). We charge the standard Ontario tax of 13% and accordingly for out of province clients.

Production Time

Your job will be considered approved and ready to proceed the day you submit print-ready files. All production times and delivery dates are estimates calculated from the business day you submit your files.

While good work takes time, we strive to provide quick turnarounds and meet your deadlines. Small print jobs (posters, postcards, etc.) require 3-4 business days. Simple publication jobs require 1-2 weeks, while more complex publication jobs require 2-3 weeks to complete. Anything less than the times estimated above may be considered a rush order.

We cannot assume responsibility for any unforeseen circumstances (ie. machine breakage, flood, fire, supply shortages, postal strikes, sabotage, or other ungodly acts) which may interfere with meeting the estimated due date.

Client Deadlines and Rush Orders

Please communicate all hard deadlines you have, such as a launch or a fair. When our schedule permits, we can rush your order for an additional percentage fee that reflects the urgency. This ranges anywhere from an extra 10% (faster than estimated) to 100% (meeting a nearly impossible deadline).

Printer’s words of wisdom: always leave yourself extra time for unexpected delays (on your side and ours).

Pick Up

Job pick-up is individually negotiated as we do not keep regular business hours. That said, we are usually available throughout the week and into the evenings. We will hold your job for up to six weeks, after which point we can no longer assume responsibility.

Courier + Shipping

We ship jobs across Canada and internationally through Canada Post. We are able to provide a Toronto-based inner-city courier service through our friends at Sendit Courier. All courier and shipping estimates are subject to change based on actual charges and an additional processing fee. We are not responsible for delays in shipping time.

File Set-Up

You are responsible for preparing and submitting print-ready files. For best possible results, please follow our file set-up guidelines and submit a full-colour composite of your artwork. While we review all files to ensure that they meet our high-quality standards, we are unable to provide detailed feedback.

You must specify if you require any special production features, such as halftone dot size or stochastic screening, abnormal registration, etc.

File Errors & Typos

We do not monitor written content and cannot assume responsibility for typos, low-resolution images, flattener errors, unexpected digital artifacts, or other problems contained within your submitted files.

If you catch an error once production begins, we may be able to accommodate a corrected file for a small fee to account for disruption in the process.

Printer’s words of wisdom: remember to always proofread your project and submit high-resolution artwork.

Separations & Multi-Colour Artwork

You are responsible to prepare and provide your own colour separations. If you need help setting-up multi-colour artwork, there are some great online resources, like this video from Risolve Studio. We may be able to provide colour-separation services for a small fee when our schedule permits.

To produce multicolour projects, we require a digital proof from you demonstrating the colour composite, opacity, layer blending, and intended appearance of overprinting.

Risograph Imperfections

Any discrepancies between a digital proof and the final print is a result of the Risograph process. We cannot guarantee colour match, the accuracy of tone/shade, or line consistency. It is important that you understand and accept that Risograph is an imperfect process (and that’s what we love about it!). We cannot assume responsibility for ink smudges, misalignment between layers or prints, roller marks, picker marks, or uneven coverage. To better understand the unique characteristics of Risograph, read more in our FAQ.

Proofs: Digital & Print

Upon request, we can send you a digital proof (PDF) of your job. However, any corrections to your files after submission of print-ready files may delay our estimated time for production. Due to the nature of Risograph printing, we do not provide print proofs as part of our standard job process. When possible, we can provide print proofs of your submitted job at a cost of $10 per colour, per page. If you request print proofs, we suggest that you maximize your use of an 11″ x 17″ sheet to include as many project elements as possible and give yourself ample time to make corrections/modifications.

Documentation & Portfolio

We reserve the right to document your project and its production process unless you request otherwise. Your project may be displayed online through our social media and/or website, as well as in our studio archive. Please inform us if you want your project to remain private before a certain launch date, or to not be publicly shared at all.

Job Satisfaction

We pride ourselves on good work and stand behind everything we produce. Please inform us if you’re not satisfied with your job or if there are printer’s errors beyond what has been outlined above and in our FAQ. Depending on the nature of the problem, we can discuss the possibilities of reprinting. We do not offer refunds on work completed. In the end, we hope that you love your job and return to Vide Press for your next project!

Risograph drums are interchangeable and printing multiple colours on top of one another creates dynamic overprint combinations. We provide a variety of spot colours unique to the Riso, including fluorescent and metallic inks. Photographic reproductions are also possible with a variation on CMYK, or any other combination you can dream of (imagine a photo printed using only purple, orange, and green inks!).

The process works by transferring digital artwork onto a physical screen/stencil called a “master”. The master is then wrapped around a drum filled with soy-based ink. The paper is fed flat through the machine while the ink is pushed through the stencil and onto the paper – all while the drum rotates at high speed. This allows us to print quite quickly which makes producing publications using the Risograph a dream. The method also allows us to print on newsprint which is not possible on a photocopier because of its complex paper path.

Risographs were designed in Japan to bridge the gap between inexpensive and costly print methods and emerged as a competitor to the photocopier. This makes them ideal for runs of 1–2000. Prints become more cost effective at 50+ prints. Risographs have historically been used by educational institutions, offices, and church groups. In the past decade, Risograph printing has seen a resurgence amongst graphic artists and small press publishers. We are proud to be a part of this new movement of Risograph-based artistic practices.

How is Riso pronounced?!

Reeso, Rizzo, Riizo? Officially, it’s pronounced “Reezo”, but everyone has their own unique way of saying it!

Smudging

Risograph ink is made from a combination of soy-oil, water and pigment and it dries through a combination of paper absorption and evaporation. Only some types of paper are suitable for printing with the Riso and the prints will always retain a newspaper like quality – with enough effort you will find that the ink can smudge and rub off onto your fingertips.

Uneven Coverage

Large areas of heavy ink coverage can result in visibly varied print consistency due to ink flooding across the stencil. We always recommend adding an invisible screen pattern these areas – ie. setting them at 90% density or below to avoid this issue. Occasionally wide banding may be visible across the sheet due to the placement of the ink distribution nozzles of the colour drum. This is normal and usually quite subtle, but may be more apparent depending on the artwork.

Tire Marks

The Risograph feeds paper into the machine using a set of rubber rollers that run across the center of the sheet. Heavy ink coverage in a print can often result in marks when printing successive layers or on the reverse side of the press sheet. When feeding paper that has already been printed this can result in tracking marks on the leading edge of the sheet.

Alignment / Registration

Registration will not always be perfect when printing more than two layers, so please take that into consideration when preparing your file. Risographs were originally designed for simple 1 and 2 colour graphics. To get the best results when printing more complex artwork, it is important to include trapping. Trapping is the process of adding overlap between colours that interact in order to avoid gaps or white spaces in case of misregistration.

Pick Marks

A ‘pick off needle’ is used within the Riso to separate the print from the drum when printing. Heavy ink will cause the needle to drag across the print leaving a small, nearly invisible, scratch line.

Expectations

It is important to understand that while Risographs can produce impressive, high-quality results, it is unlike the perfection that we have come to expect from digital printing. The charm of Riso comes from embracing the unexpected and accepting the inconsistencies produced by the printing process itself.

Non-Discrimination Policy

Vide Press is proud to support a diverse range of clients including intersectional and LGBTQ individuals and organizations. We do not and shall not discriminate on the basis of race, colour, religion, gender, gender expression, age, national origin (ancestry), disability, or sexual orientation, in any of our activities or operations.

Sponsorships

From time to time, we offer select sponsorship discounts to clients in return for the inclusion of our logo and a printing credit in their publication.