Field notes
Misregistration, roller marks and the charm of a machine that will not behave
A risograph is not a precise machine, and the sooner you stop asking it to be one, the better the run goes. The drum leaves its own texture on every sheet. Registration drifts a millimetre or two between passes. The ink never quite dries the way you expect it to. None of this is a fault. It is what the machine does, and most of the frustration in a small studio comes from fighting it instead of planning around it.
These notes come from repeated short runs, mostly two-colour, where the same handful of quirks show up again and again. Here is what tends to happen and what actually helps.
Feed the same stack through twice and the second colour lands slightly off. It is usually a millimetre or two, sometimes more at the tail of the run. Leave margins that forgive a shift, and pick colours that overlap gracefully rather than sitting edge to edge.
Faint streaks along the direction of travel are normal, especially on large flat areas of ink. They read as texture rather than damage once you stop expecting a flat digital fill. On textured paper the dot pattern breaks up further, which is often the point.
A colour can print noticeably darker than the proof, and the second pass over wet ink smudges easily. Pull a few test sheets before committing, and give the first colour time before you run the stack again.
A jam can crease a whole stack in one go, and a master starts smudging after enough copies. Both are worth watching for early. The honest record of a run includes the sheets you lose, not just the ones you keep.
Designing with the drift, rather than against it, changes the whole approach. Overlapping colours, generous margins and a tolerance for imperfection do more for a risograph run than any attempt at precision. The machine has a temperament. Learn it and the prints get better.
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