Exploring the World of Riso Studios in Japan: A Creative Journey

This is my second time visiting Japan, but now on a solo expedition. My mission: to connect with Riso studios, discover their unique processes, and get inspiration for my studio as well as form my personal work. On the first part of my journey I visited the popular cities of Kyoto and Osaka.

Osaka's Printing Wonderland - JAM

My first stop in Osaka led me to JAM, a studio that specializes in production printing. While I couldn't explore their printing area, I learned that they operate as a well-oiled machine with over ten Riso machines and a palette of 35 colors at their disposal.

JAM boasts two distinct departments: the RETRO INSATSU Department, specializing in Risograph printing services, and the Screen Printing Department, where they offer their ingenious SURIMACCA screen printing products and Open Access Studios.

What struck me most about JAM was the sheer scale of their shop. It was a sprawling space that not only housed their shop but also provided a dedicated area for screen printing services.

As I wandered through their shop, I was like a child in a candy store! Their riso products were fantastic, ranging from zines, stationary and art books. I found a lot of inspiration, and of course went on a small shopping spree... One of the things I liked the most was their use of multiple coloured paper, for zines - which we don’t see that often in Europe.

This vibrant touch added a unique flair to their creations, and has given me ideas for future projects.

Kyoto's Hidden Gem - Handsaw Press

In Kyoto, I had the privilege of meeting Oda-san, one of the founders of Handsaw Press, which recently expanded to Kyoto - Handsaw Press Kyoto. Oda-san is a fascinating individual with diverse interests, ranging from owning restaurants to being Riso machine owner and an editor. However, his true passion lies in the art of editing and the technical nuances of Riso printing. For example, I learnt about specific functions of the machine I did not have a clue about before, such as controlling “air flow” - which is especially interesting if you want to print on very thin paper.

In his cozy studio, I encountered a second-hand Riso machine that I had not seen before. This particular model had a unique feature – the ability to print double-sided prints. Oda-san chuckled as he revealed that he seldom used this option, as it often led to a messy process. Nonetheless, it was a revelation to me, highlighting the variety of riso printers available here in Japan.

What I also noticed about Oda-san's studio, and Japanese studios in general, was their exceptional equipment. From paper sorting machines to precision folding and binding tools, these studios were equipped to handle every aspect of zine production in a reduced space.

As I flipped through the zines Oda-san printed zines, I was drawn to their simplicity. Many featured just one or two colors, with an emphasis on text and a single image. This minimalist approach has reminded me that not every riso project has to be complex.