:Risograph Printing 01


Workshop: A two-day workshop that introduces the Risograph as a potential print-making method through an analogue process of image making. Tools: Library of materials—Transparency sheets, Printed sheets of 4 black tints, Printed sheets of letters and words in various sizes / Stationery—Cutting mat, Penknife, Ruler, Scissors, Tape, Blue tack. Tasks: Create a two-colour poster that will be printed with the Risograph, using only the materials provided.

Having already developed the content for the Risograph Printing workshop, this pre-trial workshop was conducted among ourselves to familiarise with the workshop’s structure in preparation for the trial workshop next week, which will be conducted among a few friends.

Some of the feedback we attempted to get from the “participants” was that it was tricky trying to get started with making without any clear idea from a sketch, or that the process of trial and error in composition is a little more tedious compared to working with a software (where graphic elements can just be moved quickly at will). Although some of us were a little impatient about this, all of us felt that it was the way it should be. To slow down the process by working with our hands, taking time to think carefully before working directly on the transparency sheet. It was a lot more deliberate, as more consideration was put into every step.

With this pre-trial run, we look forward to the first workshop that will be conducted with the public (friends), and to proceed with documenting different responses to this analogue way of making, within boundaries of this exciting medium.

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  • :Blind Drawing 01


    Tools: STABILO pen 68 / Chinagraph Pencils / A3 Paper. Tasks: 1. Draw non-master hand without looking at the drawing / 2. Appoint one to carry out task 1, appoint the one beside to copy the first person’s drawing, do the same with the rest of the participants / 3. Draw a portrait of the one opposite without looking at the drawing.

    Each of the tasks were carried out for around 2–4 times, which most of us felt was too little. There was an urge to keep trying, to continuously fine tune the results with the next drawing.

    Some initial thoughts about the activity was that it forces us to disconnect with the familiarity of having constant visual feedback while drawing, and to focus on seeing and observing the subject, with our hands responding as accordingly. This process also prevents the inclusion of any pre-conceived ideas on how the result should look like, reducing it to a purer representation of the participants’ observation and drawing habits. There is also quite a bit of intuition involved in this. Our sense of awareness on the relationship between our hands, the tool and paper, was heightened, and judgements on spatial relationships between what we see and what is on the paper had to be drawn intuitively based on the sense of touch.

    Although we found this process both fun and valuable, there were no immediate tangible takeaways with it being a short activity like this other than the addictive fun it brings. Perhaps there needs to be a greater series of experiments with this method. The benefit of this might also not entirely be in its output (which are the final drawings), but in the process—the validation that a good drawing is not only in the final result but also the relationship between the process and outcome.

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