Inuhariko
Riso print
2026
If there is one defining quality in this piece, it is the use of print itself as a material.
Rather than treating Risograph as a reproduction method, the process becomes a way of constructing the image. The work begins digitally, but the final form is shaped through colour separation, ink layering, and the physical behaviour of the print
Layers are intentionally offset, overprinted, and slightly misregistered. Ink density, opacity, and overlap are adjusted through repeated tests, allowing colours to bleed, edges to soften, and forms to merge. These interactions produce secondary tones and subtle shifts that cannot be fully determined on screen.
In this sense, the image is not simply printed but built through print. Texture, colour, and form emerge from the interaction between ink and paper, positioning Risograph as an active material rather than a passive output.
Riso print
2026
If there is one defining quality in this piece, it is the use of print itself as a material.
Rather than treating Risograph as a reproduction method, the process becomes a way of constructing the image. The work begins digitally, but the final form is shaped through colour separation, ink layering, and the physical behaviour of the print
Layers are intentionally offset, overprinted, and slightly misregistered. Ink density, opacity, and overlap are adjusted through repeated tests, allowing colours to bleed, edges to soften, and forms to merge. These interactions produce secondary tones and subtle shifts that cannot be fully determined on screen.
In this sense, the image is not simply printed but built through print. Texture, colour, and form emerge from the interaction between ink and paper, positioning Risograph as an active material rather than a passive output.
Images