When the last post was about a printing failure, then this one goes to show that exactly the same things that ruin one comic, can create atmosphere in another. This is a riso print of my comic called “Eyes of Love”. Originally it was made with ink and orange watercolour, but I was curious to see how it would look riso printed. I weighed the option of doing the colour separation digitally, but as I’ve already written in this post, digital colour separation for watercolour can be a giant headache.
So I opted for handmade colour layers to use with the scanner. The first try was to duplicate the same colour scheme the original comic had. I printed the black layer directly from the originals. On the left one I used ‘Line’ setting (RZ570EP has 4 options – Line, Photo, Line/Photo and Pencil). ‘Line’ turned out to be nice and sharp, with a certain randomness reminding of a mezzotint. However, a couple of trials showed that it needs to be used with either minimal (1) or close to minimal (2) level of ink density in order not to have all details merged into black blots. On the right one I used ‘Pencil’ setting, which gives a softer and more grey result.
These are the colour layers for orange (Sunflower Yellow, to be precise).
As you can see, the pencil lines are stronger on the upper panels and it also shows in the orange coverage – the lower ones are a bit too light. Here my intention was to do both lighter and darker orange tones with one master, but technically they can also be separated into a lighter coverage layer and stronger coverage layer. The size of one page is A5. I taped the colouring layers to the scanner with painter tape and in this case it almost seems to have worked. The registration is not perfect, but it’s not too much off either.
After this attempt I figured that as I have three colours, why not try to print the comic with three layers as well. This meant adding a layer of Medium Blue.
This time I wanted the colours to be brighter and sharper, so I made new colour layers with black and grey markers. It helped a lot with the tone, although occasionally the marker line texture remained visible – it’s easy to see on the blue sky in both the upper and lower panels.
These are the colour layers for Medium Blue. No gradation, aiming for the brightest tone possible.
The downside with stronger brighter colours is that registration mistakes also show very clearly. However, here I actually liked them. The unintended white borders added an eerie atmosphere to both the panels where the man is fighting with crows and where the girl is walking through the field holding the torch. I’m starting to suspect that as the registration problems are always most notable with the Medium Blue drum, which is another size (B4 as opposed to A3), perhaps it has something to do with that. No proof yet though.
The orange layers had gradation, so I did parts of the colour layers in grey marker instead of black.
It worked well in larger areas and not so well in smaller ones (torch), as the edges of darker parts remained too clear-cut.
Takeaways from this experiment:
When designing for handmade riso print, simplicity is the key. Larger areas of colour work better than smaller ones, so it’s better to leave details expressed with linework only. Negative space is also great. (I should have only used minimal shading on the girl’s face – it would have been more striking with more pure white areas.)