Style combination · Pairs well

Australian Poster Collective Screenprints × Risograph

Today's riso studios inherit the fluoro inks, short runs and collective workshops; borrow Redback's black keyline to give riso colour more punch.

From the research on Australian Poster Collective Screenprints

Mix them and make something Australian Poster Collective Screenprints Risograph

A sample layout drawn from the recipe: shapes from Risograph, their arrangement from Australian Poster Collective Screenprints, the finish from Risograph. Not a real work, and not an image of either style.

What each style brings

Each part of the design comes from the style with the stronger say in it, and each style gives at least two.

Australian Poster Collective Screenprints Risograph & Indie Print Culture

Type from Australian Poster Collective Screenprints: Hand-lettering
All caps
Colour from Australian Poster Collective Screenprints: Flat fields
Fluorescent & neon
Form from Risograph: Stylised figuration
Geometric primitives
Composition from Australian Poster Collective Screenprints: Single focal point
Layered information
Surface from Risograph: Misregistration & overprint
Grain & noise

The type

Open fonts standing in for each style’s own type, which is often hand-drawn or commercial.

Display · Australian Poster Collective Screenprints

Together

Londrina Solid; Australian Poster Collective Screenprints used Hand-cut stencil lettering and Press-type (Letraset) display faces

Text · Risograph

A contemporary culture of zines, art books, posters and prints made on Japanese Risograph stencil duplicators, whose soy-based spot inks (fluorescent pink, yellow, blue, teal) are laid down one drum at a time. Designers embrace the machine's limits: translucent overprints, slight misregistration, grainy coverage and coarse halftones give flat illustration and type a warm, handmade vibrancy at low cost.

Inter; Risograph used Neo-grotesques set large and Monospace and typewriter faces

The colours

The ground and leading colours come from Australian Poster Collective Screenprints, with a counter-accent from Risograph. The ink reads on the ground at 4.5:1 or more.

Australian Poster Collective Screenprints Risograph & Indie Print Culture

#111111 ground · 36%
#f2ede3 ink · 14%
#f6e000 accent · 18%
#ff8a1f accent · 14%
#ff48b0 accent · 10%
#c0392b accent · 8%

As CSS

:root {
  --ground: #111111;
  --ink: #f2ede3;
  --accent-1: #f6e000;
  --accent-2: #ff8a1f;
  --accent-3: #ff48b0;
  --accent-4: #c0392b;
  --font-display: "Londrina Solid", cursive;
  --font-text: "Inter", sans-serif;
}

Use it with care

Australian Poster Collective Screenprints: Land-rights posters were often made with or for Aboriginal organisations (the Central and Northern Land Councils, Boomalli) and can include designs, stories and clan imagery that belong to particular Aboriginal artists and communities; the Aboriginal flag was designed by Luritja artist Harold Thomas in 1971. Do not borrow Aboriginal motifs, dot or cross-hatch patterns as a 'protest look'; work with First Nations artists and organisations under protocols such as Creative Australia's Protocols for using First Nations Cultural and Intellectual Property in the Arts.