ESSAY
The Ritual of Riso
excerpt from an essay by Emily Evans
All images in the article are provided by Emily Evans
Date published: 01/05/2026
Emily Evans is an illustrator working with portable making, nature and folklore situated at the core of her practice. We are publishing an excerpt from Emily's essay on risograph printing as a community-building ritual.
ESSAY
There is more to the Riso than just a cost-effective print process; it's a tool for building community. One way of this happening is as a way of creating community through the ritual act of making. Riso printing can be seen as a way in which students are ritually using the process to represent trying to
recapture ‘aura’ in design and illustration work. ‘Aura’ is described by Walter
Benjamin as ‘that which withers in the age of mechanical reproduction’ (Benjamin, 1999a). It is the essence of a piece of art, its place in time, and its authenticity. Moreover, this depreciation in ‘aura’ is accredited to the development of the reprographic processes of the 19th century which allowed photographs and prints of pieces to be dispersed across the world. I will, however, be arguing that the Riso is a reprographic process that is being used to reinstate ‘aura’ into work.
In his article for Ceasefire Magazine, the political theorist Andrew Robinson
explores Walter Benjamin’s seminal text about reproduction processes and their
impact. His interest in ritual and making as a way of developing community is intriguing:
recapture ‘aura’ in design and illustration work. ‘Aura’ is described by Walter
Benjamin as ‘that which withers in the age of mechanical reproduction’ (Benjamin, 1999a). It is the essence of a piece of art, its place in time, and its authenticity. Moreover, this depreciation in ‘aura’ is accredited to the development of the reprographic processes of the 19th century which allowed photographs and prints of pieces to be dispersed across the world. I will, however, be arguing that the Riso is a reprographic process that is being used to reinstate ‘aura’ into work.
In his article for Ceasefire Magazine, the political theorist Andrew Robinson
explores Walter Benjamin’s seminal text about reproduction processes and their
impact. His interest in ritual and making as a way of developing community is intriguing:
'Ritual is not necessarily reactionary. The Communion of ritual practice may be necessary for the formation of non-massified social groups. An example could be the use of puppets in protests'. (Robinson, 2018)
One reason it could be suggested the Riso is being acquired by Art Schools is that it is so useful as a print process that forms a ritualistic use and this may be seen as a way to create a community on courses in Art and Design Schools. Considered in courses where campuses are spread such as the Royal College of Art, the processes that are available and easily accessible could form ritualistic connections for those who are using them. Students using the Riso may be more likely to build a community around it, and it could be argued that a ritual of use had been established tying student groups together as more students are initiated into the method of the Riso. This idea of the ritual initiation into skills is something that Leonard Waks suggests in ‘Education as Initiation Revisited: General Rituals and the Passage to Adulthood’. Here he indicates that ritual has always played an essential part in education: “to be able to participate as a social “insider”; initiates share, and care about, the values inherent in the activities” (Waks, 2013). I would suggest using the Riso helps create this ‘insider’ effect whereby students feel like they are joining a community of process.
Through ritual use, students started to associate [riso] with an element of social cohesion
This is also supported by ‘Ritual and Education’ an article written by R.S. Peters and co-authored with Basil Bernstein and Lionel Elvin, where they discuss the function of general rituals in education: ‘The function of general rituals are, to unify the social whole through shared repetition of symbolic behaviours’ (1996). Students share and disseminate information when learning skills, and this is something that it could be argued Riso printing and its engagement create. It is this sense of ritual that occurs in both its use and though ‘peer to peer’ interaction using the Riso that helps create additional community in Art Schools who acquire the Riso.
When I talked to Angharad Lewis, a former editor of Grafik and former Head of Visual Communication at London Met Uni, she mentioned this development of group dynamics through the Riso and peer-to-peer learning:
When I talked to Angharad Lewis, a former editor of Grafik and former Head of Visual Communication at London Met Uni, she mentioned this development of group dynamics through the Riso and peer-to-peer learning:
'The riso is a great tool to encourage peer-to-peer feedback and learning.
Students who have grasped the process and become confident using the Riso
can readily induct and guide others, thus reinforcing their own learning and
giving them a sense of responsibility, as well as kick-starting peers’ interest in
the riso process' (Lewis, 2018).
Students who have grasped the process and become confident using the Riso
can readily induct and guide others, thus reinforcing their own learning and
giving them a sense of responsibility, as well as kick-starting peers’ interest in
the riso process' (Lewis, 2018).
Through this ritual use, students started to associate this piece of kit with an element of social cohesion and an area of print which crosses the boundary into a social and practical learning element and critical print resource, the Riso has become imbued with considerably more significance than first considered. This idea of ritualistic connections created within art schools also can be seen within the descriptions of the Bauhaus art School, the idealism and spirit invested suggested comparisons of it instigating a ritualistic approach by students (McKenzie, 2007).
When the intellectual Rayner Banham described the Bauhaus at Dessau as a ‘sacred site’ (McKenzie, 2007) it could be suggested that Banham was referring to the ethos of the building, its studios, and community. Walter Benjamin suggested that in ancient times, artists created ceremonial objects for cult and ritual purposes. ‘Art’ was meant for the spirits and intended for specific places—and these art pieces were instruments of magic, their aura inexorably tied to their ritual functions (Naegele 1998). Therefore it could be interpreted as a way in which students are using the riso processes to recapture aura in design and illustration work.
When the intellectual Rayner Banham described the Bauhaus at Dessau as a ‘sacred site’ (McKenzie, 2007) it could be suggested that Banham was referring to the ethos of the building, its studios, and community. Walter Benjamin suggested that in ancient times, artists created ceremonial objects for cult and ritual purposes. ‘Art’ was meant for the spirits and intended for specific places—and these art pieces were instruments of magic, their aura inexorably tied to their ritual functions (Naegele 1998). Therefore it could be interpreted as a way in which students are using the riso processes to recapture aura in design and illustration work.
LMU Visual Communication, Riso workshop
The Riso with its
inconsistency’s in print, its inability to guarantee a perfect print or a series
of identical reproductions means every print in its way could be viewed as an
original
inconsistency’s in print, its inability to guarantee a perfect print or a series
of identical reproductions means every print in its way could be viewed as an
original
It could be argued that it is what makes it authentic that connects it to its ritual
use. So how does this affect the idea of the Riso a duplicator that creates copies but imbues them with mistakes and imperfections, a process that takes a digital work mixes it with a more DIY aesthetic? Does this art still carry some aura and the does this ritual of adding imperfections during making give it its cult value?
While unpicking ‘Art Aura and Authenticity’, Andrew Robinson discusses the ability to distribute and create multiples of your work and how it has a sense of materiality that is compelling that is achieved through addictive action. The Riso with its inconsistencies, its inability to guarantee a perfect print or a series of identical reproductions, means that every print in its way could be viewed as an original (Robinson, 2013). ‘It is significant that the existence of the work of art with its reference to its aura is never entirely separated from its ritual function.’ (Benjamin, 1936). The Riso prints' aura is becoming entwined with the cult status of the printer. The Riso is often mentioned concerning its developed ‘cult status’, which is often described as 'Risomania', and even the word ‘Risomaniacs’ being occasionally mentioned:
use. So how does this affect the idea of the Riso a duplicator that creates copies but imbues them with mistakes and imperfections, a process that takes a digital work mixes it with a more DIY aesthetic? Does this art still carry some aura and the does this ritual of adding imperfections during making give it its cult value?
While unpicking ‘Art Aura and Authenticity’, Andrew Robinson discusses the ability to distribute and create multiples of your work and how it has a sense of materiality that is compelling that is achieved through addictive action. The Riso with its inconsistencies, its inability to guarantee a perfect print or a series of identical reproductions, means that every print in its way could be viewed as an original (Robinson, 2013). ‘It is significant that the existence of the work of art with its reference to its aura is never entirely separated from its ritual function.’ (Benjamin, 1936). The Riso prints' aura is becoming entwined with the cult status of the printer. The Riso is often mentioned concerning its developed ‘cult status’, which is often described as 'Risomania', and even the word ‘Risomaniacs’ being occasionally mentioned:
'Risomaniacs are at the forefront of a growing movement that is recuperating older stencil printing techniques and in the process of bringing those technologies to unexpected and exciting new places' (Komurki, 2017: 14).
The new digital age the ritual of hands-on processes has become even more
representative of engagement. In my discussion with Teal Triggs, she discussed the space that the Riso sits in: 'It is an interesting space to be in at the moment, because what I’m seeing is not only looking back at a past which would now be a traditional past in terms of techniques and strategies, but it’s being done in conjunction with new technologies' (Triggs, 2018).
If used and thought of as a way to publish and produce a high number of editions
of work, then printing using Riso can also represent a committal of an idea to
something physical. In this digital age, this even more so embodies the idea of
a thoroughly considered concept and object. The process of finalizing and
solidifying an idea and what could be considered the aura of a project via Riso
printing means it, even more, starts to embody a significant ritual of a process
to students. This ritualistic aspect of riso-printing should be considered when discussing riso's impact on the students' connections with this process.
representative of engagement. In my discussion with Teal Triggs, she discussed the space that the Riso sits in: 'It is an interesting space to be in at the moment, because what I’m seeing is not only looking back at a past which would now be a traditional past in terms of techniques and strategies, but it’s being done in conjunction with new technologies' (Triggs, 2018).
If used and thought of as a way to publish and produce a high number of editions
of work, then printing using Riso can also represent a committal of an idea to
something physical. In this digital age, this even more so embodies the idea of
a thoroughly considered concept and object. The process of finalizing and
solidifying an idea and what could be considered the aura of a project via Riso
printing means it, even more, starts to embody a significant ritual of a process
to students. This ritualistic aspect of riso-printing should be considered when discussing riso's impact on the students' connections with this process.
LMU Visual Communication, Riso workshop
The acquirement of risk printers by art and design schools has an active and practical impact on student learning and development. The machines' ability to contribute to an environment and culture of empowerment through print is having a positive effect on those who use it and the broader community of education. As Andrew Robinson points out, 'technical reproduction can put the copy of the original into situations which would be out of reach for the original itself. Above all, it enables the original to meet to meet the beholder halfway' (Robinson, 2014). Thus via the ritual of Riso, students are gaining a multitude of interactions both with the process of learning, the physicality of the print process and by engaging with resulting printed matter.
It allows the democratic possibility of mass-printing at a rate that is more affordable than other processes. Students are less likely to feel singled out by an inability to afford the finish as the Riso provides a method that is largely accessible to all students. By opening up the print and publication production process to students through Riso, the process is being democratized even more and to a much wider audience.
Writing in Eye Magazine about the change in attitudes toward arts education, Steve Rigley argues that the universities need the independence and time to create working educational spaces:
It allows the democratic possibility of mass-printing at a rate that is more affordable than other processes. Students are less likely to feel singled out by an inability to afford the finish as the Riso provides a method that is largely accessible to all students. By opening up the print and publication production process to students through Riso, the process is being democratized even more and to a much wider audience.
Writing in Eye Magazine about the change in attitudes toward arts education, Steve Rigley argues that the universities need the independence and time to create working educational spaces:
'Under the constant threat of litigation, how easily can genuine academic rigor be applied within a culture increasingly fixated upon league tables, surveys, and RateMyProfessor.com? To apply the principles of the supermarket is to undermine the time and trust necessary to build any genuinely successful teaching environment' (Rigley, 2011).
If the Riso can enable and open up new ways of learning, will the art schools be given the space and time to test the ways to use it? Within education can the Riso be allowed the space to show its full possibilities in teaching and learning? When staff are increasingly burdened with bureaucracy, they may be unable to develop the exciting areas of development that need such vision.
The Riso may give the opportunity to demonstrate the creatively that Art Schools can achieve when they have the freedom to develop ideas which are, as Angharad Lewis described, “empowering [students] to take processes into their own hands’ (Lewis, 2018). I believe there are also further areas to explore concerning how empowering the Riso can be, in both education and outside of it. For example, where graduates and creatives are increasingly using Risos at the centre of communities, studios and collectives to further expand the accessibility that the Risograph offers in publishing out into the public domain. The Riso can have an impact that is far-reaching and developing empowerment and creativity.
The Riso may give the opportunity to demonstrate the creatively that Art Schools can achieve when they have the freedom to develop ideas which are, as Angharad Lewis described, “empowering [students] to take processes into their own hands’ (Lewis, 2018). I believe there are also further areas to explore concerning how empowering the Riso can be, in both education and outside of it. For example, where graduates and creatives are increasingly using Risos at the centre of communities, studios and collectives to further expand the accessibility that the Risograph offers in publishing out into the public domain. The Riso can have an impact that is far-reaching and developing empowerment and creativity.
List of references:
Benjamin, W. (1999a) ‘The work of art in the age of mechanical reproduction’, in Illuminations. London: Pimlico, p. 3.
Komurki, J. (2018) Risomania: The New Spirit of Printing. 2nd edn. Zurich: Niggli.
Lewis, A. (2018) Personal correspondence, 8 June.
McKenzie, J. (2007) ‘Bauhaus’, Studio International, December. Available at: http://www.studio-international.co.uk/index.php/bauhaus-1919-1933 (Accessed: 20 March 2018).
Naegele, D. (1998) ‘Object, image, aura: Le Corbusier and the architecture of photography’, Harvard Design Magazine, 6. Available at: http://www.harvarddesignmagazine.org/issues/6/object-image-aura (Accessed: 23 March 2018).
Printed Matter, (2014) ‘Riso-printing: An overview’. Printed Matter. Available at: https://www.printedmatter.org/catalog/tables/579 (Accessed: 4 June 2018).
Robinson, A. (2014) ‘Walter Benjamin: Art, aura and authenticity’, Ceasefire Magazine, June. Available at: http://www.ceesefiremagazine.co.uk/walter-benjamin-art-aura-authenticity/ (Accessed: 18 March 2018).
Rigley, S. (2011) ‘Education: Buying time’, Eye Magazine, 79, pp. 98–99.
Taylor, L. (2016) ‘The propagation of the aesthetic in the digital age’, Limner Journal, 4. Available at: http://limner-journal.eu/New_Limner_Site/liv-essay_full_gif.html (Accessed: 20 March 2018).
Triggs, T. (2018) Personal correspondence, 13 June.
Waks, L. (2013) ‘Education as initiation revisited: General rituals and the passage to adulthood’, Philosophy of Education, pp. 129–132.
Warnick, B. (2010) ‘Ritual, imitation, and education in R.S. Peters’, Journal of Philosophy of Education, 43(S1).
Komurki, J. (2018) Risomania: The New Spirit of Printing. 2nd edn. Zurich: Niggli.
Lewis, A. (2018) Personal correspondence, 8 June.
McKenzie, J. (2007) ‘Bauhaus’, Studio International, December. Available at: http://www.studio-international.co.uk/index.php/bauhaus-1919-1933 (Accessed: 20 March 2018).
Naegele, D. (1998) ‘Object, image, aura: Le Corbusier and the architecture of photography’, Harvard Design Magazine, 6. Available at: http://www.harvarddesignmagazine.org/issues/6/object-image-aura (Accessed: 23 March 2018).
Printed Matter, (2014) ‘Riso-printing: An overview’. Printed Matter. Available at: https://www.printedmatter.org/catalog/tables/579 (Accessed: 4 June 2018).
Robinson, A. (2014) ‘Walter Benjamin: Art, aura and authenticity’, Ceasefire Magazine, June. Available at: http://www.ceesefiremagazine.co.uk/walter-benjamin-art-aura-authenticity/ (Accessed: 18 March 2018).
Rigley, S. (2011) ‘Education: Buying time’, Eye Magazine, 79, pp. 98–99.
Taylor, L. (2016) ‘The propagation of the aesthetic in the digital age’, Limner Journal, 4. Available at: http://limner-journal.eu/New_Limner_Site/liv-essay_full_gif.html (Accessed: 20 March 2018).
Triggs, T. (2018) Personal correspondence, 13 June.
Waks, L. (2013) ‘Education as initiation revisited: General rituals and the passage to adulthood’, Philosophy of Education, pp. 129–132.
Warnick, B. (2010) ‘Ritual, imitation, and education in R.S. Peters’, Journal of Philosophy of Education, 43(S1).
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Warnick, B.R. (2010) ‘Ritual, imitation, and education in R.S. Peters’, Journal of Philosophy of Education, 43(3), pp. 57-74.
Anderson, R.D. (2004) European Universities from the Enlightenment to 1914. Oxford: Oxford University Press.
Bauer, C., Viola, K. and Strauss, C. (2011) ‘Management skills for artists: “Learning by doing”?’ International Journal of Cultural Policy, 17(5), pp. 626–644.
Benjamin, W. (1935) ‘The work of art in the age of mechanical reproduction’, in Illuminations. London: Pimlico.
Biggs, J. (1999) Teaching for Quality Learning at University. Buckingham: SRHE and Open University Press.
Chatterjee, H. and Hannan, L. (2016) ‘The pedagogical value of object-based learning’, in Engaging the Senses: Object-Based Learning in Higher Education. London: Routledge, pp. 1–12.
Cooper, P.A. (1993) ‘Paradigm shifts in designed instruction: From behaviorism to cognitive constructivism’, Educational Technology, 33(5), pp. 12–19.
Eikhof, D.R. and Haunschild, A. (2007) ‘For art’s sake! Artistic and economic logics in creative production’, Journal of Organizational Behavior, 28(5), pp. 523–538.
Findeli, A. (2001) ‘Rethinking design education for the 21st century: Theoretical, methodological, and ethical discussion’, Design Issues, 17(1), pp. 5–17.
Freire, P. (1996) Pedagogy of the Oppressed. Rev. edn. London: Penguin.
Fung, D. (2017) A Connected Curriculum for Higher Education. London: UCL Press.
Hayward, D. (2007) ‘The student experience in art and design higher education: Drivers for change’, in Questioning Current Learning Cultures in Art, Design, Media and Communication. Bristol: HEA.
Ingold, T. (2013) Making: Anthropology, Archaeology, Art and Architecture. London: Routledge.
Jamieson, P., Fisher, K., Gilding, T., Taylor, P.G. and Trevitt, A.C.F. (2000) ‘Place and space in the design of new learning environments’, Higher Education Research & Development, 19(2), pp. 221–237.
Keeton, M.T., Sheckley, B.G. and Griggs, J.K. (2002) Efficiency and Effectiveness in Higher Education. Dubuque, IA: Kendall/Hunt.
Kimbell, L. (2011) ‘Rethinking design thinking: Part I’, Design and Culture, 3(3), pp. 285–306.
Kolb, D.A. (1984) Experiential Learning: Experience as the Source of Learning and Development. Englewood Cliffs, NJ: Prentice-Hall.
Kolb, A.Y. and Kolb, D.A. (2005) ‘Learning styles and learning spaces: Enhancing experiential learning in higher education’, Academy of Management Learning & Education, 4(2), pp. 193–212.
Komurki, J. (2018) Risomania: The New Spirit of Printing. 2nd edn. Zurich: Niggli.
Maitland, B.M. (1991) ‘Problem-based learning for an architecture degree’, in Boud, D. and Feletti, G. (eds.) The Challenge of Problem-Based Learning. London: Kogan Page.
Mann, S.J. (2001) ‘Alternative perspectives on the student experience: Alienation and engagement’, Studies in Higher Education, 26(1), pp. 7–19.
Matos, S. and Gieben-Gamal, E. (2017) ‘Social design and participatory research: Transforming the curriculum in higher education’, in Proceedings of the NORDES 2017 Conference. Edinburgh: Edinburgh College of Art.
Minogue, J. (2006) ‘Haptics in education: Exploring an untapped sensory modality’, Review of Educational Research, 76(3), pp. 317–348.
Moussouri, T. (2002) A Context for the Development of Learning Outcomes in Museums, Libraries and Archives. London: Resource.
Noble, I. and Bestley, R. (2016) Visual Research Methods in Graphic Design. 3rd edn. London: Bloomsbury.
Olsen, B. (2010) In Defense of Things: Archaeology and the Ontology of Objects. Plymouth: AltaMira Press.
Reece, I. and Walker, S. (2004) Teaching, Training and Learning. Sunderland: Business Education Publishers.
Rigley, S. (2011) ‘Education: Buying time’, Eye Magazine, 79, pp. 98–99.
Shaughnessy, A. (2009) Studio Culture: The Secret Life of the Graphic Design Studio. London: Unit Editions.
Snaith, S. (2018) ‘Technical challenge’, Eye Magazine, 95(24), pp. 18–19.
Stones, C.M. and Cassidy, T. (2010) ‘Seeing and discovering: How do student designers reinterpret sketches and digital marks during graphic design ideation?’, Design Studies, 31(5), pp. 439–460.
Triggs, T. (2016) ‘Collaborative learning: The social in social design’, in Developing Citizen Designers. London: Bloomsbury Academic.
Tuckett, T. and Lawes, E. (2017) ‘Object literacy at University College London Library Services’, Art Libraries Journal, 42(2), pp. 99–104.
Wadsworth, B.J. (1989) Piaget’s Theory of Cognitive and Affective Development. New York: Longman.
Waks, L.J. (2013) ‘Education as initiation revisited: General rituals and the passage to adulthood’, Philosophy of Education, pp. 129–132.
Warnick, B.R. (2010) ‘Ritual, imitation, and education in R.S. Peters’, Journal of Philosophy of Education, 43(3), pp. 57-74.