By Kaylee Hayes | Reporter

In the Book Arts and Letterpress Lab in Jones Library, a Risograph printer now sits beside antique presses and shelves of metal type, symbolizing the bridge between the past and future of printmaking at Baylor.

“The Risograph looks a little out of place here,” Lab Coordinator Jeanne Dittmann said. “It’s Japanese technology from the 1980s that’s kind of a mix between a photocopier and a screen printer. It was originally marketed to schools and churches because it could make copies fast, but artists now use it for creative printing.”

Risographs function similarly to screen printing, usually resulting in vibrant, bright colors, according to the School of the Art Institute of Chicago.

Sha Towers, associate dean of libraries and creator of the lab, said the addition aligns with the lab’s goal of providing students with a space to create and experiment.

​“We already had presses in here from the 1870s,” Towers said. “That’s the same kind of equipment Gutenberg or Ben Franklin would’ve used. The Riso is like the great-great-grandchild of those presses — it’s part of the same printing lineage but much more modern.”

​Towers said the Risograph helps bridge the gap between old and new forms of printing.

“Letterpress is slow and methodical,” Towers said. “Riso printing is quick and colorful. Together, they show how printmaking keeps evolving.”

The Risograph works by creating a stencil, called a master, for each color layer. Ink is pushed through the master onto paper using a rotating drum. The lab’s model holds two color drums at once, allowing for layered prints.

“The ink we use is soy-based,” Dittmann said. “We have pink, yellow, blue and black. It doesn’t dry quickly, so it can get messy, but that’s part of the fun. You get these textures and overlaps that you can’t plan.”

Towers said the Risograph makes printing more approachable for students across disciplines.

“Most people who come in have never printed anything before,” Towers said. “With the Riso, you can cut something out, press a button and immediately see what you made. It opens the process to anyone, not just art or design students.”

Workshops in the lab encourage the same hands-on approach. Participants create images through collage, drawing and layering before printing them on the Risograph. Each individual’s page is then bound into a collaborative booklet.

“It’s not about making something perfect,” Dittmann said. “You just get to make something. The goal is to learn through doing.”

Sunnyvale senior Holland Weerasekara said she joined one of the Risograph workshops as a creative break.

“I’m a science major, so this is totally different for me,” Weerasekara said. “It’s kind of like a brain break. Everyone’s really welcoming, and you can just make something for fun.”

Weerasekara said the environment feels inclusive and encouraging — something she always looks forward to when she comes to create art.

“Sometimes art spaces can feel intimidating or exclusive,” Weerasekara said. “Here, it’s not like that at all.”

Tina Linville, assistant professor of art, said the Book Arts and Letterpress Lab’s workshops give both students and faculty a space to experiment without pressure.

“In class, students can get caught up in grades and deadlines,” Linville said. “Here, it’s just about experimenting and trying things out. The Riso helps show that creative work doesn’t have to be perfect to be meaningful.”

Linville said she often encourages her students to participate in the workshops because they offer a different kind of learning experience.

“It’s good for them to make something just to see what happens,” Linville said. “You can make mistakes and still create something interesting.”

​Since opening last year, the Book Arts and Letterpress Lab has hosted more than 2,000 visitors. Towers said most people who walk in are surprised to learn the space exists.

​“People come in and say, ‘I didn’t know this was here,’” Towers said. “That’s the best kind of reaction. It means people are discovering a new way to make things —one that connects the history of print with what’s possible now.”