Risograph

Yeah, it's always a process.

Yeah, I'm definitely excited to see what happens with the Riso printing.

I usually do imagery from paintings, sometimes from sketchbook pages.

It's just kind of like a fun surprise to see how things come out.

Yeah.

Um, I'm a, I've been part of this company, RISØ, for the last five years.

Yes.

Um-

Yeah

... we were not thinking about this quarter.

We're thinking about that group's experience with ty- wi- like, with RISØ and how we can grow in a way-

Right

So I think this is kind of an important lesson to teach them and is, again, a responsibility on us as the kind of people who they're looking to.

But isn't also design itself a form of problem solving in terms of embracing small budgets, thinking about how one might work with, you know, printing economic papers in, but carefully, or using Xerox or Risograph, I think is a really interesting development of the last 10 years, you know, and I think we've have this sort of the history of photography publishing has really been historically been predicated on the accuracy of reproduction and veracity.

And I remember when I first came into the industry and everyone's getting super excited about like, you know, five-way separation and, you know, and all of this boring stuff that just makes me go to sleep.

But do you think that perhaps there's something in the increased production costs of offset lithoprinting that has kind of contributed to this rise of something like risograph, which is something where you can abandon an obsession with detail? What happens if you embrace distortion? What happens if you embrace noise? What happens if you embrace those wonderful misregistrations? to create a new visual language.