The Resurgence of Risograph and Specialty Inks
In an age dominated by pixels and screens, a curious counter-trend is unfolding: old-school print techniques are making a comeback. From Risograph duplicator prints and silkscreen posters to fluorescent and metallic inks that practically glow off the page, analog and specialty printing methods are experiencing a renaissance. This renewed interest is visible across creative sectors – in indie publishing and zine fests, fine art and gallery prints, the lookbooks of boutique fashion brands, and even in the packaging designs of niche consumer products. What’s fueling this analog revival, and what does it mean for businesses in the print industry? Let’s explore the factors behind the resurgence and how commercial printers can adapt to ride this wave.
Why Retro Printing Is Back: The Appeal of the Analog
Several converging factors are driving designers, artists, and brands to embrace analog printing methods again. Key drivers include:
Tangible, Tactile Experiences: In a digital-weary world, people crave the physical. Hand-printed materials offer a satisfying heft and texture – from the slight emboss of a screen print’s ink to the velvety soy-ink feel of a Risograph zine. This tactile appeal provides a sensory connection that pixels can’t deliver, enhancing engagement and perceived value.
Unique Visual Aesthetics: Specialty prints have a look that stands out. Risograph prints, for example, feature vibrant spot colors with a charming misregistration or grain that gives each piece character. Screen prints yield saturated colors and often slight variations per print, underscoring their handmade nature. These “perfectly imperfect” visuals align with a contemporary design ethos that celebrates authenticity and craft.
Nostalgia and Retro Vibes: Everything old is new again – especially for Gen Z. This generation, despite their digital nativity, has developed a fascination with analog tech as a form of nostalgia and novelty. Engaging with retro mediums like film cameras, vinyl records, or zines offers them a way to connect with the past. In printing, techniques from the 1970s–80s (think risograph duplicators or DayGlo fluorescent inks) carry a vintage cool factor. As one recent analysis noted, nostalgia is fueling Gen Z’s affection for analog mediums, allowing them to “connect with the past through tactile and immersive experiences”.
A Break from Digital Fatigue: Along with nostalgia comes a bit of rebellion against digital overload. Constant screen time has created a hunger for off-screen experiences. Slow, hands-on processes like assembling a zine or pulling a squeegee across a silkscreen can feel almost therapeutic. They offer focus and a creative outlet away from the notifications and blue light. In fact, younger generations see analog activities as a mindful escape – a counterbalance to the sensory saturation of online life.
Exclusivity and Collectibility: Because analog printing methods are often labor-intensive or equipment-limited, they naturally lend themselves to small runs and limited editions. This scarcity creates a sense of exclusivity that digital printing’s infinite reproducibility can’t match. A zine may only have 100 copies in existence, or a screen-printed poster might be a signed, numbered edition – tangible collectibles in a way an Instagram image will never be. As one magazine expert observed, today’s young consumers “want something that is tangible and collectible” in an era of ephemeral digital content.
Community and Craftsmanship: There’s also a community aspect driving the resurgence. Independent print workshops and risograph studios often operate as collaborative spaces where artists share techniques and ideas. The “shared generosity of community and shared knowledge” around these print methods is part of the appeal, as described by practitioners in the field. In an impersonal digital world, analog printing brings people together – whether at a zine fair, a print studio workshop, or an online forum swapping risograph tips.
Risograph: From Obscure Office Machine to Indie Press Hero
One of the most prominent comeback stories is that of the Risograph. This Japanese-origin duplicator from 1984 was originally a fast, cheap office copier, but it has been repurposed by artists and small publishers across the globe. The risograph (or “riso”) process uses stencil masters and soy-based ink, printing one color at a time in layers. The result is often compared to silk-screen printing, with vibrant spot colors, a slightly uneven texture, and a delightfully handmade aesthetic. Once an office staple for churches and schools, these machines are now coveted by art departments, zine collectives, and independent publishers.
A shelf filled with colorful Risograph ink tubes and a neon sign proclaiming “I ♥ RISO” at a community print studio. Risograph duplicator machines use these vivid ink colors to create layered prints, one hue at a time.
Over the past decade, risograph printing has exploded in popularity among the DIY publishing scene. Small presses are using riso to produce art books, comics, and literary zines with a distinctive look. In the United States, networks of risograph studios have formed to share knowledge and resources. For example, Half Letter Press in Chicago started using Riso in the 2010s to publish experimental booklets and posters, helping seed a community of practice. There’s even a North American Risograph Conference launched by a Chicago studio (Perfectly Acceptable Press) and Issue Press in Michigan – a gathering where enthusiasts swap techniques and celebrate this once-niche device.
Why do creators love the riso so much? Beyond its visual style, it’s fast and accessible. Risograph machines can crank out dozens of prints a minute using real inks but at a fraction of the cost of traditional offset. This makes them ideal for short-run projects – exactly the kind of prints common in activist circles, art shows, and micro-publishing. During the pandemic, one Chicago artist used a risograph to quickly print a neighborhood zine and plastered it around town the same day – a feat of agile, hyper-local publishing that would be hard to replicate digitally. Riso printing’s “do-it-yourself” immediacy means if you can imagine it, you can print it by tomorrow and share it with your community.
The risograph’s cultural cachet also ties into the ethos of activism and radical art. Its history in grassroots publishing hasn’t been lost on today’s users; many see it as an idealistic medium. One design studio noted that the risograph’s rising popularity “parallels the increasing global awareness around social activism,” calling it an avant-garde means to radical art forms. Simply put, the riso is cool – it carries an aura of subversive zine culture and creative experimentation. And in a hyper-digital world, using a risograph is also a statement: it “grounds us in the present, bringing joy back into craft-making”.
Real-world examples abound. In Albuquerque, a community print shop called Risolana runs workshops teaching analog risograph poster-making to local activists – and they’ve been packed to capacity. Over in Seattle, Cold Cube Press is a risograph publishing studio that puts out about ten art books and comics a year, treating the printing process as part of their art practice itself. Such presses often collaborate with a rotating roster of artists, producing beautifully crafted zines and prints that end up on the tables of art book fairs. As one report on Cold Cube Press described, art books have become a vehicle to show art outside the gallery, giving fans and collectors a tangible piece of an artist’s work, handcrafted one page at a time. This perfectly encapsulates why risograph and its analog kin are booming – they make art accessible, tangible, and personal.
Screen Printing, Fluorescents, and Other Specialty Inks on the Rise
It’s not just risographs catching on. Other analog and specialty processes are seeing a bump in popularity:
Screen Printing – The classic method of pushing ink through a mesh stencil is as popular as ever in the world of posters, prints, and apparel. A new wave of illustrators and designers are embracing screen printing to produce limited-run gig posters, art prints, and even zine covers. The appeal lies in its vibrant color and durability – screen prints can achieve bold, saturated areas of color that pop off the paper (or t-shirt). Each print in a run is pulled by hand, so no two are exactly identical, adding to their collectible aura. Gig poster culture in particular has turned screen-printed concert posters into sought-after art items, often selling out in minutes online. This artisanal approach to prints – often signed and numbered by the artist – creates a deeper connection with fans than any mass-produced digital print ever could.
Fluorescent Inks (DayGlo Revival) – Neon inks are back in a big way, injecting designs with electric pinks, blazing oranges, and acid greens. Popular in the 1960s psychedelic posters and 1980s graphic design, fluorescent (“DayGlo”) inks fell out of favor for a time but are now trendy for the bold. Modern indie brands and zine artists use fluorescent spot colors to make their prints impossible to ignore – these colors absorb ultraviolet light and re-emit it, creating that eye-searing glow effect. Printers have noticed a “DayGlo revival,” with vintage fluorescent pigments being put back into production for designers seeking that retro neon look. Whether it’s a rave flyer, a risograph art print (many risograph studios now stock fluorescent pinks and oranges), or edgy packaging, neon inks deliver an arresting palette that refuses to go unnoticed.
Metallic Inks and Foils – Gold and silver never really go out of style, but there’s a distinct uptick in using metallic finishes on print projects. Boutique fashion lookbooks, luxury invitation suites, and premium packaging are frequently accented with metallic inks or foil stamping to add that shimmer of opulence. Gold and silver inks contain actual metal particles that catch the light, giving a subtle gleam when printed – a more budget-friendly alternative to full foil stamping while still conveying luxury. Independent designers are incorporating metallic spot inks into zines and prints as well, playing with gold overlays or pearlescent touches to elevate the piece. In a crowded visual marketplace, a touch of shine can set a design apart as something special.
Thermochromic & Photochromic Inks – Perhaps the most novel of the bunch, these are interactive inks that change color with temperature or UV light. Thermochromic inks have been a trending trick in packaging design for a few years now, used to delight consumers with “now you see it, now you don’t” graphics. For example, a beer label might reveal hidden text or graphics when cold, or a coffee cup might change color when hot. Packaging experts note that thermochromic inks in labels and shrink sleeves attract attention through their originality and surprise effect. Big brands have dabbled in this technology for limited editions – notable companies like Nike, Coca-Cola, and McDonald’s have used temperature-sensitive ink on promotional packaging to engage customers with hidden messages or rewards. Similarly, photochromic inks react to sunlight, which has been used on things like beverage cans that reveal designs when taken outdoors. While these specialty inks are more gimmicky, they feed into the idea of making print a more experiential, engaging medium. In an era of interactive digital media, print can play that game too – with ink that literally transforms in front of your eyes.
Boutique Print Processes – Alongside the above, other heritage print processes are enjoying renewed interest. Letterpress printing (with its deep impression into thick cotton papers) has become popular for wedding invitations, art prints, and business cards that want a vintage-crafted flair. Small letterpress studios in the U.S. report steady business from clients seeking that bespoke, tactile quality. Foil stamping and embossing are similarly in demand for short-run projects where adding a physical texture or shine can create a premium feel. Even alternative processes like linocut or woodblock printing see use in modern indie art circles, often combined with digital design techniques. This broad appreciation for analog methods underscores a general trend: creators are mixing old and new to produce printed pieces that feel out of the ordinary.
Indie Publishing and Art Scenes Embrace the Old School
It’s no coincidence that indie publishing is flourishing alongside this analog revival. In fact, the two trends feed each other. Across the U.S., a robust network of zine fests, art book fairs, and print expos has emerged (or re-emerged), showcasing the work of creators who often print their projects with risos, screen printing, or other specialty methods. The zine, that DIY magazine of self-expression, is firmly back in cultural consciousness – and often in vibrant physical form rather than purely online. Generation Z, known for blending digital life with analog nostalgia, has been actively making and consuming zines on topics from art and music to social justice. They value the intimate, crafted feel of a zine, which stands in stark contrast to algorithm-driven social media content. Zines and small prints also align with Gen Z’s support for local artists and diverse voices; many zines are sold or traded hand-to-hand at local bookstores, libraries, or community events, strengthening real-world connections.
Art collectives and independent publishers are key players here. We’ve mentioned a few risograph-centric presses, but consider also the print collectives and studios dedicated to screen printing or letterpress. For example, in Austin, TX, Flatbed Press (though focused on fine art lithography and etching) has collaborated with contemporary artists to produce limited edition prints that end up in galleries and museums. In Providence, RI – home of a famous art school – the printmaking community produces countless screen-printed art prints and posters, fueling a subculture of print trades and shows. The gig poster scene (centered around events like Flatstock poster shows) brings together silkscreen artists from around the country who produce stunning posters for bands – these artists often operate as small businesses, leveraging online shops to sell their limited prints to fans nationwide. It all reinforces that print is not dead; rather, it’s evolving into a more specialized, craft-oriented domain. As one design magazine quipped after surveying the scene: **“Print is most certainly not dead” – if anything, colorful, creative print is having a new moment in the sun.
To illustrate the momentum: Perfectly Acceptable Press in Chicago is a small publisher/printer that not only cranks out risograph art books and comics for clients, but also actively nurtures the community by co-organizing the North American RISO Conference. In New York and Milwaukee, studios like Lucky Risograph and BearBear Press offer risograph print-for-hire services with dozens of specialty ink colors, catering to the growing demand from designers who want that risograph look for their project without owning a machine. Many of these indie printers have Instagram followings where they showcase projects – spreading the gospel of analog aesthetics to wider audiences and inspiring even more interest. It’s a virtuous cycle: the more people see funky riso prints or fluorescent posters, the more they want to try it in their own work.
Importantly, the analog trend isn’t confined to art hobbyists; forward-thinking brands are on board too. Independent fashion labels and lifestyle brands have started to produce printed lookbooks or catalogs as a throwback to when a seasonal line launch came with a beautifully printed booklet. Some do small runs of these lookbooks using specialty inks or hand printing to emphasize the craft and uniqueness of their brand. Even major fashion magazines, which largely went digital in the 2010s, are reappearing in print editions to capitalize on collector appeal. (Case in point: iconic style magazine i-D recently returned to print after years, specifically citing young readers’ nostalgia and desire for a physical, deluxe product.) High-end retail packaging, too, has embraced bespoke print touches – think of a new perfume or whiskey brand that opts for a letterpressed label with copper foil, or a streetwear drop that comes in a silkscreened tote bag. These choices signal authenticity and quality to consumers who are increasingly numb to cheap digital prints and mass production.
Business Implications: Opportunities for Commercial Printers
For commercial printing businesses, the resurgence of risograph and specialty inks presents both a challenge and an opportunity. On one hand, it’s a reminder that differentiation is key – standard CMYK printing alone may not excite the new generation of clients who seek something distinctive. On the other hand, it opens the door to offering new services and attracting new customer segments if you can tap into this trend.
Growing Demand for Short-Run & Specialty Work: As described, many of these analog projects are short-run, small-batch jobs – a few hundred art prints, 50 lookbooks for a fashion capsule, 200 zines for a comic fest, etc. Traditionally, commercial print shops focused on high-volume work might overlook these jobs. But today there is real business in short-run specialty projects, often with a higher per-unit margin because of their bespoke nature. Clients are willing to pay a premium for the hand-crafted or limited-edition feel. Printers might consider dedicating a small portion of their operation to cater to these jobs or develop quick-turn workflows for them. Some printing companies have even started hybrid services – for example, offering digital printing for the bulk of a project but adding specialty finishes or inserts. A shop could digitally print a 100-copy magazine interior, then screen print a fluorescent ink title or add a letterpress-printed cover to marry efficiency with craft. The key is flexibility and a willingness to handle non-traditional jobs.
Investing in Niche Capabilities: There are various ways a print provider can add analog or specialty capabilities. One route is equipment investment – e.g., purchasing a small risograph duplicator (they’re relatively inexpensive) to offer riso printing in-house, or setting up a basic screen printing area for poster jobs. Some shops are investing in newer digital presses that simulate these effects too. For instance, Xerox’s latest production presses can print specialty dry inks like gold, silver, white, and even fluorescent pink alongside CMYK. This means a commercial printer can achieve metallic or neon effects digitally, enabling variable data and short runs with special colors in one pass. The Xerox Iridesse, for example, prints gold or silver underlays and clear gloss accents digitally – bridging the gap between mass customization and the allure of metallic ink. For printers who aren’t ready to fully embrace analog processes, such digital embellishment capabilities can be a way to ride the trend with a modern twist.
Another avenue is to partner or collaborate. If you’re a print company without in-house specialty equipment, you might team up with a local letterpress studio or a collective of screen printers. This way you can jointly bid on projects that require a mix of standard printing and artisan techniques. Such collaborations can be win-win: the client gets a seamless end product, and each party gets business they might not have gotten alone. We are already seeing some commercial printers form alliances with craft print shops – effectively creating a network of specialty suppliers under one virtual roof.
Marketing an “Analog Edge”: Embracing this movement can also be a marketing differentiator for print businesses. Highlighting your ability to do unique projects can set you apart from competitors. For instance, showcasing samples of work with fluorescent ink accents or a booklet with a risograph insert can signal to creative clients (design agencies, indie brands, event organizers, etc.) that your company is tuned into cutting-edge print trends. Some printers are hosting workshops or “demo days” for local designers to come try out things like letterpress or foil stamping, effectively creating community engagement (and drumming up business interest in those services). By aligning with the creative community, a printer can gain credence as more than just a service provider – becoming a creative partner.
Adapting to Creative Workflows: It’s worth noting that handling these projects may require a mindset shift operationally. Short-run art prints or zines won’t have the same predictability as a standard brochure print run. Turnaround times might be tighter, file setups more experimental (imagine handling a risograph file with 5 spot colors that intentionally don’t align perfectly), and client expectations more fluid. Printers looking to capture this market should ensure their prepress teams are comfortable with unusual requests and can work flexibly. It could mean brushing up on how to print from RGB risograph separations, or learning the quirks of printing on uncoated, textured art papers. Those that do will find themselves becoming go-to resources for a loyal segment of artists and designers.
Lastly, consider that what goes around comes around – today’s trendy specialty technique can become tomorrow’s mainstream offering. Keeping an eye on these trends in analog revival can position a print business ahead of the curve. For instance, if thermochromic ink use in packaging continues to rise, a commercial packaging printer might want to start experimenting with it now (and source reliable suppliers) to offer it proactively to brand clients. The same goes for things like augmented reality print (combining print with digital experiences) or sustainable print materials – all part of the larger desire for print to offer what digital cannot.
Bridging Old and New: The Hybrid Future of Print
The resurgence of risograph and specialty inks is a reminder of print’s enduring appeal when it delivers experiences that digital media cannot. It taps into nostalgia, yes, but it also offers a forward-looking model for print’s place in modern marketing and art. The future seems to be “hybrid” – not analog or digital, but a clever combination of both. A print piece might be personalized with data-driven content and digitally printed efficiency, then finished with a tactile screen-printed varnish or a splash of neon ink that makes it pop. It’s the best of both worlds.
For DPi and its customers, tracking these trends isn’t just an academic exercise; it’s directly linked to innovation and business growth. Printers who stay tuned into creative movements (by following design blogs, attending events like Print Week or local art fairs, even subscribing to zine distro mailing lists) will spot opportunities early. If a local brewery is releasing a limited beer with a cool label concept, maybe you pitch them on that glow-in-the-dark ink you’ve been testing. If a college art department in your region buys a risograph, maybe you sponsor a student print contest to get your name in that community. Adaptation can be incremental – you don’t need to overhaul everything to participate. Start by offering one specialty service or partnering with one artisan, and grow from there.
The bottom line: the print world is expanding, not contracting – it’s just expanding in unexpected directions. What was once considered outdated (like mimeograph-style printing or day-glo inks) can be reborn as fresh and exciting in a new context. By embracing the resurgence of analog techniques and marrying them with modern capabilities, print businesses can unlock new revenue streams and re-energize the medium’s role in the marketing mix. As we’ve seen, consumers and creators alike are responding to these tangible, creative outputs with real enthusiasm. Print has always been a medium of variability – now it’s proving to have its own “variable voice,” combining old and new to speak to the next generation. For those in the industry, it’s time to listen, learn, and perhaps get your hands a little inky.
Sources:
Hyperallergic – “The Democratic Power of the Risograph” (Nancy Zastudil, Nov 13, 2023) – discusses how risograph’s handmade aesthetic is tied to posters, zines and embraced by small publishers hyperallergic.com.
House of Forme (Design Agency) – “How is Risograph Making a Comeback?” – notes that the risograph’s popularity rides a broader print resurgence and appeals as an avant-garde medium reflective of social activism; also describes how in a hyper-digital world, riso brings joy back to craft-making houseofforme.comhouseofforme.com.
ITEdgeNews – “Anti-digital natives: Why Gen Z chooses analog in an AI world” (Oct 2025) – analyzes Gen Z’s drivers for analog revival, including nostalgia for tactile experiences and a desire for authenticity and real-world craftsmanship itedgenews.africaitedgenews.africa.
The Guardian – “‘Tangible & collectible’: i-D back on shelves as Gen Z revives fashion magazines” (Chloe Mac Donnell, Mar 25, 2025) – reports on the revival of print magazines like i-D due to nostalgia-driven demand from young readers, noting that “Young people… want something tangible and collectible” theguardian.comtheguardian.com.
Juxtapoz Magazine – “Get to Know the Artists Behind Cold Cube Press” (Interview by Jessica Ross, 2021) – profile of a Seattle risograph publishing studio; highlights how art books serve as tangible vessels for art, giving fans a piece of the artist’s practice “handcrafted, one page at a time,” and describes Cold Cube’s model of publishing ~10 books a year as part of their art practice juxtapoz.comjuxtapoz.com.
New University (UC Irvine) – “Generation Zine: Why the Revival of Zine Culture Is Crucial Today” (Camelia Heins, Jan 8, 2022) – explains zines’ historical role and resurgence among Gen Z, noting that zines are back in the mainstream and align with Gen Z’s activism and urge to reintroduce past formats in modern ways newuniversity.orgnewuniversity.org.
Rieusset Blog (Packaging firm) – “Packaging with thermochromatic inks” (Oct 4, 2023) – industry blog stating that thermochromic (temperature-sensitive) inks have been a trend in label and packaging printing in recent years for their originality and surprise effect blog.rieusset.es.
Gamut Packaging – “Thermal Inks: A Creative Way to Hide Discounts on Packaging” (Jessica Aletor, Mar 11, 2025) – describes how brands use thermochromic inks in promotions; notes that major brands like Nike, McDonald’s and Coca-Cola employed heat-sensitive inks in limited-edition packaging to engage customers gamutpackaging.com.
Netpak Packaging – “Ink-credible options for designing your packaging” (2023) – outlines uses of specialty inks in packaging; explains the luxurious sheen of metallic inks (gold, silver) as a cost-effective foil alternative netpak.com and the high-impact brightness of fluorescent inks that “refuse to go unnoticed” netpak.com.
PrintMag – “Top Five Risograph Artists to Follow on Instagram” (Chloe Gordon, May 7, 2021) – a first-person account noting the author’s discovery of risograph prints’ neon-like style and asserting that “print is most certainly not dead” as evidenced by young artists’ vibrant riso works printmag.com.
Stencil.wiki – Entry for Perfectly Acceptable Press (accessed 2025) – provides background on this Chicago risograph print studio/publisher, which focuses on short-run artist books marrying content and craft, and notes their role in co-organizing the North American Risograph Conference stencil.wiki.
Xerox (Product Page) – Xerox Iridesse Production Press – highlights that this digital press can print with six stations including specialty dry inks (Gold, Silver, White, Clear, and even Fluorescent Pink) in addition to CMYK, enabling digital prints with metallic and fluorescent effects xerox.com. This exemplifies how digital printing is incorporating specialty ink capabilities to meet new market demands.