The Japanese risograph printer is bringing artists from around the world together. Designer Gabriella Marcella discovered the printer years ago and felt an immediate connection. “The process and immediacy – it resonated,” she says. Many creatives share this experience. Marcella has now curated an international art exhibition at Glasgow’s Glue Factory Galleries showcasing these works. The risograph, developed in Japan in the 1980s by Riso Kagaku, is a machine that resembles a photocopier but prints like a screenprinter. Founder Noboru Hayama aimed to make printing affordable and intuitive. The printer uses soy-based inks for small print runs that have a handmade look. Its distinctive style has become popular among zines, activists, and independent artists. Marcella recalls buying her first risograph for about £200 through eBay. “My dad drove me to collect it from a pair of pensioners who printed their grandsons’ football gazettes,” she says. Her fascination grew while studying at Pratt Institute in New York. After returning to Glasgow, she launched Risotto Studio in 2012. Her work, recognized for bold shapes and vivid colors, includes projects for Stüssy, Apple, Swatch, and her own prints. In 2017, Marcella founded Riso Club, a non-profit program supporting risograph artists globally. She aimed to highlight creatives outside major cities like London and New York. Members pay a yearly fee and receive four postcards each month, featuring artists from different international cities. Past issues have included works from Lille, Lima, Kyiv, and Damascus. Marcella emphasizes the value of physical art in a digital world. “A postcard through the door has a weight, texture, and intimacy that digital communication doesn’t,” she says. The postcards allow people to connect with other cultures through art, offering a personal and tangible experience. The risograph’s origins align with this mission. Early machines often came from political parties or schools, providing a fast, affordable way to share ideas. This history resonates with the contemporary global community that Marcella supports. For Riso Club’s Kyiv issue, designer Mari Kinovych showcased the city’s vibrancy amid war. One illustration featured tank traps and flowers, reflecting both conflict and hope. Kinovych also contributed a piece symbolizing love and care within the community. Similarly, Kinda Ghannoum curated the Damascus issue to show the city beyond typical media narratives. Artists shared personal reflections and nostalgia for their home. “The results were even more beautiful than I imagined,” Ghannoum says, “I felt proud that we could represent Damascus’ spirit in such a meaningful way.” To mark 100 Riso Club issues, Marcella created a special edition featuring design icons such as Memphis Group founder Nathalie Du Pasquier, artist Peter Shire, and architect Barbara Stauffacher Solomon. All 400 postcards from this milestone edition are now on display in Glasgow, highlighting the reach and joy of risograph printing. Marcella hopes the exhibition will inspire visitors. “Design can be generous, accessible, and social,” she says. “Print still connects people in a direct, everyday way.” The Japanese risograph printer continues to unite artists globally, proving that tactile creativity remains powerful in a digital age.