ESSAY
The Ritual of Riso
excerpt from an essay by Emily Evans
All images in the article are provided by Emily Evans
Date published: 01/05/2026
Emily Evans is an illustrator working with collage across illustration and moving image, with collaboration situated at the core of her practice.
We are publishing an excerpt from Emily's essay on risograph printing as a community-building ritual.
We are publishing an excerpt from Emily's essay on risograph printing as a community-building ritual.
ESSAY
There is more to the Riso than just a cost-effective print process; it's a tool for building community and one way of this happening is as a way of creating community through the ritual act of making. Riso printing can be seen as a way in which students are ritually using the process to represent trying to
recapture ‘aura’ in design and illustration work. ‘Aura’ is described by Walter
Benjamin as ‘that which withers in the age of mechanical reproduction is the aura
of the work of art .’ It is the essence of a piece of art, its place in time and its
authenticity. Moreover, this depreciation in ‘aura’ is accredited to the development of the reprographic processes of the 19th century which allowed photographs and prints of pieces to be dispersed across the world. I will, however, be arguing that the Riso is a reprographic process that is being used to reinstate ‘aura’ into work.
In his article for Ceesefire Magazine, the political theorist Andrew Robinson
explores Walter Benjamin’s seminal text about reproduction processes and their
impact ‘Art Aura and Authenticity’. His interest in ritual and making as a way of
developing community is intriguing: Ritual is not necessarily reactionary. The Communion of ritual practice may be necessary for the formation of non-massified social groups. An example could be the use of puppets in protests.
One reason it could be suggested the Riso is being acquired by Art Schools is that it is so useful as a print process that forms a ritualistic use and this may be seen as a way to create a community on courses in Art and Design Schools. Considered in courses where campuses are spread such as the Royal Collage of Art the processes that are available and easily accessible could form ritualistic connections for those who are using them. Students using the Riso may be more likely to build a community around it, and it could be argued that a ritual of use had been established tying student groups together as more students are initiated into the method of the Riso. This idea of the ritual initiation into skills is something that Leonard Waks suggests in ‘Education as Initiation Revisited: General Rituals and the Passage to Adulthood’. Here he indicates that ritual has always played an essential part in education. “to be able to participate as a social “insider”; initiates share, and care about, the values inherent in the activities.”I would suggest using the Riso helps create this ‘insider’ effect whereby students feel like they are joining a community of process.
recapture ‘aura’ in design and illustration work. ‘Aura’ is described by Walter
Benjamin as ‘that which withers in the age of mechanical reproduction is the aura
of the work of art .’ It is the essence of a piece of art, its place in time and its
authenticity. Moreover, this depreciation in ‘aura’ is accredited to the development of the reprographic processes of the 19th century which allowed photographs and prints of pieces to be dispersed across the world. I will, however, be arguing that the Riso is a reprographic process that is being used to reinstate ‘aura’ into work.
In his article for Ceesefire Magazine, the political theorist Andrew Robinson
explores Walter Benjamin’s seminal text about reproduction processes and their
impact ‘Art Aura and Authenticity’. His interest in ritual and making as a way of
developing community is intriguing: Ritual is not necessarily reactionary. The Communion of ritual practice may be necessary for the formation of non-massified social groups. An example could be the use of puppets in protests.
One reason it could be suggested the Riso is being acquired by Art Schools is that it is so useful as a print process that forms a ritualistic use and this may be seen as a way to create a community on courses in Art and Design Schools. Considered in courses where campuses are spread such as the Royal Collage of Art the processes that are available and easily accessible could form ritualistic connections for those who are using them. Students using the Riso may be more likely to build a community around it, and it could be argued that a ritual of use had been established tying student groups together as more students are initiated into the method of the Riso. This idea of the ritual initiation into skills is something that Leonard Waks suggests in ‘Education as Initiation Revisited: General Rituals and the Passage to Adulthood’. Here he indicates that ritual has always played an essential part in education. “to be able to participate as a social “insider”; initiates share, and care about, the values inherent in the activities.”I would suggest using the Riso helps create this ‘insider’ effect whereby students feel like they are joining a community of process.
it could be suggested that through this ritual use, students started
to associate this piece of kit with an element of social cohesion and an area of
print which crosses the boundary into a social and practical learning element
and critical print resource
to associate this piece of kit with an element of social cohesion and an area of
print which crosses the boundary into a social and practical learning element
and critical print resource
This is also supported by ‘Ritual and Education’ an article written by R.S Peters in 1996 co-authored with Basil Bernstein and Lionel Elvin, they discuss the function of general rituals in education; ‘The function of general rituals are, to unify the social
whole through shared repetition of symbolic behaviours.’ Students share and disseminate info when learning skills and this is something that
it could be argued Riso printing and its engagement create. It is this sense of ritual that occurs in both its use and though ‘peer to peer’ interaction using the Riso that it helps create additional community in Art Schools who acquire the Riso.
When I talked to Angharad Lewis, a former editor of Grafik and former Head of Visual Communication at London Met Uni she mentioned this development of group dynamics through the Riso and peer to peer learning:
The riso is a great tool to encourage peer-to-peer feedback and learning.
Students who have grasped the process and become confident using the Riso
can readily induct and guide others, thus reinforcing their own learning and
giving them a sense of responsibility, as well as kick-starting peers’ interest in
the riso process.
Therefore, it could be suggested that through this ritual use, students started
to associate this piece of kit with an element of social cohesion and an area of
print which crosses the boundary into a social and practical learning element
and critical print resource, the Riso has become imbued with considerably more
significance than first considered. This idea of ritualistic connections created
within art schools also can be seen within the descriptions of the Bauhaus art
School, the idealism and spirit invested suggested comparisons of it instigating a
ritualistic approach by students.
When the intellectual Rayner Banham described the Bauhaus at Dessau as a ‘sacred site’ it could be suggested that Banham was referring to the ethos of the building, its studios, and community. Walter Benjamin suggested that in ancient times, artists created ceremonial objects for cult and ritual purposes. ‘Art’ was meant for the spirits and intended for specific places—and these art pieces were instruments of magic, their aura inexorably tied to their ritual functions. Therefore it could be interpreted as a way in which students are using the processes to represent trying to recapture aura in design and illustration work.
whole through shared repetition of symbolic behaviours.’ Students share and disseminate info when learning skills and this is something that
it could be argued Riso printing and its engagement create. It is this sense of ritual that occurs in both its use and though ‘peer to peer’ interaction using the Riso that it helps create additional community in Art Schools who acquire the Riso.
When I talked to Angharad Lewis, a former editor of Grafik and former Head of Visual Communication at London Met Uni she mentioned this development of group dynamics through the Riso and peer to peer learning:
The riso is a great tool to encourage peer-to-peer feedback and learning.
Students who have grasped the process and become confident using the Riso
can readily induct and guide others, thus reinforcing their own learning and
giving them a sense of responsibility, as well as kick-starting peers’ interest in
the riso process.
Therefore, it could be suggested that through this ritual use, students started
to associate this piece of kit with an element of social cohesion and an area of
print which crosses the boundary into a social and practical learning element
and critical print resource, the Riso has become imbued with considerably more
significance than first considered. This idea of ritualistic connections created
within art schools also can be seen within the descriptions of the Bauhaus art
School, the idealism and spirit invested suggested comparisons of it instigating a
ritualistic approach by students.
When the intellectual Rayner Banham described the Bauhaus at Dessau as a ‘sacred site’ it could be suggested that Banham was referring to the ethos of the building, its studios, and community. Walter Benjamin suggested that in ancient times, artists created ceremonial objects for cult and ritual purposes. ‘Art’ was meant for the spirits and intended for specific places—and these art pieces were instruments of magic, their aura inexorably tied to their ritual functions. Therefore it could be interpreted as a way in which students are using the processes to represent trying to recapture aura in design and illustration work.
LMU Visual Communication, Riso workshop
The Riso with its
inconsistency’s in print, its inability to guarantee a perfect print or a series
of identical reproductions means every print in its way could be viewed as an
original
inconsistency’s in print, its inability to guarantee a perfect print or a series
of identical reproductions means every print in its way could be viewed as an
original
It could be argued that it is what makes it authentic that connects it to its ritual
use. So how does this affect the idea of the Riso a duplicator that creates copy’s but imbues them with mistakes and imperfections, a process that takes a digital work mixes it with a more DIY aesthetic, does this art still carry some aura and the does this ritual of adding imperfections during making give it its cult value?
Andrew Robinson discusses while unpicking ‘Art Aura and Authenticity,’ the ability to distribute and create multiples of your work and how it has a sense
of materiality that is a compelling and addictive action. The Riso with its
inconsistency’s in print, its inability to guarantee a perfect print or a series
of identical reproductions means every print in its way could be viewed as an
original. ‘It is significant that the existence of the work of art with its reference to
its aura is never entirely separated from its ritual function.’ The Riso prints aura is
becoming entwined with the cult status of the printer. The Riso is often mentioned concerning its developed ‘cult status’ often describes the Riso’ and in Risomania even the word ‘Risomaniacs’ is mentioned:
Risomaniacs are at the forefront of a growing movement that is recuperating
older stencil printing techniques and in the process of bringing those
technologies to unexpected and exciting new places.
The new digital age the ritual of hands-on processes has become even more
representative of engagement. In my discussion with Teal Triggs, she discussed the space that the Riso sits in and how exciting it is: It is an interesting space to be in at the moment- because what I’m seeing is not only looking back at a past which would now be a traditional past in terms of techniques and strategies, but it’s being done in conjunction with new technologies.
If used and thought of as a way to publish and produce a high number of editions
of work, then printing using Riso can also represent a committal of an idea to
something physical. In this digital age, this even more so embodies the idea of
a thoroughly considered concept and object. The process of finalizing and
solidifying an idea and what could be considered the aura of a project via Riso
printing means it, even more, starts to embody a significant ritual of a process
to students. While it may be more of a philosophical argument, the way in which
students may connect with the Riso in this ritualistic way an aspect I certainly
think should be considered when discussing its impact on students connections
with this process.
use. So how does this affect the idea of the Riso a duplicator that creates copy’s but imbues them with mistakes and imperfections, a process that takes a digital work mixes it with a more DIY aesthetic, does this art still carry some aura and the does this ritual of adding imperfections during making give it its cult value?
Andrew Robinson discusses while unpicking ‘Art Aura and Authenticity,’ the ability to distribute and create multiples of your work and how it has a sense
of materiality that is a compelling and addictive action. The Riso with its
inconsistency’s in print, its inability to guarantee a perfect print or a series
of identical reproductions means every print in its way could be viewed as an
original. ‘It is significant that the existence of the work of art with its reference to
its aura is never entirely separated from its ritual function.’ The Riso prints aura is
becoming entwined with the cult status of the printer. The Riso is often mentioned concerning its developed ‘cult status’ often describes the Riso’ and in Risomania even the word ‘Risomaniacs’ is mentioned:
Risomaniacs are at the forefront of a growing movement that is recuperating
older stencil printing techniques and in the process of bringing those
technologies to unexpected and exciting new places.
The new digital age the ritual of hands-on processes has become even more
representative of engagement. In my discussion with Teal Triggs, she discussed the space that the Riso sits in and how exciting it is: It is an interesting space to be in at the moment- because what I’m seeing is not only looking back at a past which would now be a traditional past in terms of techniques and strategies, but it’s being done in conjunction with new technologies.
If used and thought of as a way to publish and produce a high number of editions
of work, then printing using Riso can also represent a committal of an idea to
something physical. In this digital age, this even more so embodies the idea of
a thoroughly considered concept and object. The process of finalizing and
solidifying an idea and what could be considered the aura of a project via Riso
printing means it, even more, starts to embody a significant ritual of a process
to students. While it may be more of a philosophical argument, the way in which
students may connect with the Riso in this ritualistic way an aspect I certainly
think should be considered when discussing its impact on students connections
with this process.
LMU Visual Communication, Riso workshop
The acquirement of Risos by Art and Design schools is I believe having an active and practical impact on student learning and development. The machines ability to contribute to an environment and culture of empowerment though print is having a positive effect on those who use it and the broader community of education. As Andrew Robinson points out ‘ technical reproduction can put the copy of the original into situations which would be out of reach for the original itself. Above all, it enables the original to meet to meet the beholder halfway.' Thus via the ritual of Riso, students are gaining a multitude of interactions both with the process of learning, the physicality of the print process and by engaging with resulting printed matter.
It allows the democratic possibility of mass-printing at a rate that is more affordable than other processes. Students are less likely to feel singled out by an inability to afford the finish as the Riso provides a method that is largely accessible to all students. By opening up the print and publication production process to students through Riso, the process is being democratized even more and to a much wider audience.
Writing in Eye Magazine about the change in attitudes toward arts education Steve Rigley argues about how university’s need the independence and time to create working educational spaces,
Under the constant threat of litigation, how easily can genuine academic rigor be applied within a culture increasingly fixated upon league tables, surveys, and RateMyProfessor.com? To apply the principles of the supermarket is to undermine the time and trust necessary to build any genuinely successful teaching environment.
If the Riso can enable and open up new ways of learning, will the art schools be given the space and time to test the ways to use it? Within education can the Riso be allowed the space to show its full possibilities in teaching and learning? When staff are increasingly burdened with bureaucracy and may be unable to develop such exciting areas of development that need such vision.
I hope that Art and Design courses can test and explore ways of developing and using the Riso. The Riso may give the opportunity to demonstrate the creatively that Art Schools can achieve when they have the freedom to develop ideas which are as Angharad Lewis described “empowering [students] to take processes into their own hands’. I believe there are also further areas to explore concerning how empowering the Riso can be, in both in education and outside of it. For example, where graduates and creatives are increasingly using Risos at the centre of community's, studios and collectives to further expand the accessibility that the Risograph affords in publishing out into the public domain. The Riso is exciting having an impact that is far-reaching and looks to continue to develop empowerment and creativity.
It allows the democratic possibility of mass-printing at a rate that is more affordable than other processes. Students are less likely to feel singled out by an inability to afford the finish as the Riso provides a method that is largely accessible to all students. By opening up the print and publication production process to students through Riso, the process is being democratized even more and to a much wider audience.
Writing in Eye Magazine about the change in attitudes toward arts education Steve Rigley argues about how university’s need the independence and time to create working educational spaces,
Under the constant threat of litigation, how easily can genuine academic rigor be applied within a culture increasingly fixated upon league tables, surveys, and RateMyProfessor.com? To apply the principles of the supermarket is to undermine the time and trust necessary to build any genuinely successful teaching environment.
If the Riso can enable and open up new ways of learning, will the art schools be given the space and time to test the ways to use it? Within education can the Riso be allowed the space to show its full possibilities in teaching and learning? When staff are increasingly burdened with bureaucracy and may be unable to develop such exciting areas of development that need such vision.
I hope that Art and Design courses can test and explore ways of developing and using the Riso. The Riso may give the opportunity to demonstrate the creatively that Art Schools can achieve when they have the freedom to develop ideas which are as Angharad Lewis described “empowering [students] to take processes into their own hands’. I believe there are also further areas to explore concerning how empowering the Riso can be, in both in education and outside of it. For example, where graduates and creatives are increasingly using Risos at the centre of community's, studios and collectives to further expand the accessibility that the Risograph affords in publishing out into the public domain. The Riso is exciting having an impact that is far-reaching and looks to continue to develop empowerment and creativity.
Bibliography:
Art Library's Journal, Volume 42, Issue 2 (April 2017) pp 99-106.
Anderson, R. D. European Universities from the Enlightenment to 1914, (2004) p6.
Alexander P. A. & Judy, J. E. in Lefrançois, G. Psychology for Teaching, Wadsworth, Belmont (2000).
Bauer, C.; Viola, K.; Strauss, C. Management skills for artists: ‘Learning by Doing’? International journal of cultural policy. 17 (5), (2011), p626-644.
Biggs, J, Teaching for Quality Learning at University. SHRE and Open University Press (1999).
Chatterjee, Helen and Hannan, Leonie, Engaging the Senses: Object-Based Learning in Higher Education, Part one the Pedagogical value of object-based learning, Published London Routledge (2016) p1.
Cooper A Peter, Paradigm Shifts in Designed instruction: From Behaviorism to Cognitive Constructivism’ Educational Theory Vol 33 No 5 ( 1993) p12 – 19.
Eikhof, D.R.; Haunschild, A. For art's sake! Artistic and economic logics in creative production. Journal of Organizational Behavior. 28(5), ( 2007) p523–538.
Freire, P. Pedagogy of the Oppressed. New Revise. London: Penguin Books. (1996).
Fung, Dilly, A Connected Curriculum for Higher Education. London, UCL Press (2017).
Findeli, A, ‘Rethinking Design Education for the 21st Century: Theoretical, Methodological, and Ethical Discussion', Design Issues 17(1), (2001) pp. 5-17.
Hayward, David. The student experience in art and design higher education: drivers for change’. Chapter 4: -BAU - WOW! A model for creative practice, thinking, learning, research and innovation in the 21st century, Questioning current learning cultures in art, design, media, and communication. (2007).
Ingold, Tim, Making – Anthropology, Archaeology, Art, and Architecture. Routledge (2013) p31.
Jamieson, P.J.; Fisher, K.; Gildng, T.; Taylor, P.G. & Trevitt, A.C.F. ‘Place and space in the design of new learning environments’ higher education research and development, 19 (2), (2000) pp.221-237.
Keeton, M. T, Sheckley, B. G., & Griggs, J. K.. Efficiency and effectiveness in higher education. Dubuque, IA: Kendall/ Hunt Publishing Company. (2002).
Kimbell, L,‘Rethinking Design Thinking: Part I’, Design and Culture, 3(3), Llewellyn, A. and Hogan, K. (2000) pp. 285–306.
Kolb D. A. Experiential learning: Experience as the source of learning and development (Vol. 1). Englewood Cliffs, NJ: Prentice-Hall. (1984) p38.
Kolb, Alice and Kolb, David, Learning Styles and Learning Spaces: Enhancing Experiential Learning in Higher Education, Academy of Management Learning & Education, Vol. 4, No. 2 (2005), pp. 193-212.
Komurki, John. Risomania, The new spirit of Printing 2rd Edn, Chapter 1: The Risograph, Published by Niggli (2018) p14.
McRae, Andrew, THE Journal, Leading Statements, N2345 ( Feb 2018).
Mann, S. J. ‘Alternative Perspectives on the Student Experience: Alienation and engagement.’, Studies in Higher Education, 26(1), (2001) pp. 7–19.
Maitland, B.M, ‘Problem-based Learning for an Architecture Degree’. In: Boud, D. and Feletti, G. (Eds), The Challenge of Problem-based Learning. London: Kogan (1991).
Matos, Sonia and Gieben-Gamal, Emma, Proceedings of the NORDES 2017 Conference, Social design and participatory research: Transforming the Curriculum in Higher Education, Published by Edinburgh Collage of Art (2017) p1.
Minogue, James. “Haptics in Education: Exploring an Untapped Sensory Modality” Review of Educational Research Fall, Vol. 76, No. 3 (2006), p317.
Moussouri, Theano, A context for the development of learning outcomes in museums, libraries and archives. Resource, (2002).
Nobel, Ian and Bestley, Russell Bestley, Visual Research Methods in Graphic Design, 3rd Edn, London: Bloomsbury 2016 Chapter 07: Process and Materials, (2016) p172.
Olsen, B, In Defense of things. Plymuth, Uk: Altamira Press (2010).
Reece, I & Walker, S. Teaching, Training and Learning, Business Education Publishers Limited, Sunderland (2004).
Rigley, Steve, Eye Magazine ‘Education: Buying Time’, Issue 79 (2011) p98-99.
Shaughnessy, Adrien Studio Culture: The Secret Life of the Graphic Design Studio, London: Unit Editions, (2009) p12.
Snaith, Sarah, ‘Technical Challenge’ Eye Magazine No95 Vol24 (Jan 2018) p18-19.
Stones CM, Cassidy T “Seeing and discovering: how do student designers reinterpret sketches and digital marks during graphic design ideation?”, Design Studies. (2010) 31.5: p439-460.
Triggs, T ‘Collaborative Learning: the social in social design’, in Developing Citizen Designers. Bloomsbury Academic. (2016).
Tuckett, Tabitha and Lawes, Elisabeth, "Object Literacy at University College London Library Services" Art Library's Journal, Volume 42 Issue 2 (2017) p99- 104.
Wadsworth, B. Piaget's theory of cognitive and affective development. New York: Longman (1989)
Walters, Benjamin, The Work of Art in the Age of Mechanical Reproduction, in Illuminations (London, Pimlico (1935) p3.
Waks, Leonard, Education as Initiation Revisited: General Rituals and the Passage to Adulthood,' Philosophy of Education (2013) p129-132.
Warnick, Bryan,"Ritual, Imitation, and Education in R.S. Peters," Journal of Philosophy of Education, Issue 43, (2010)
Anderson, R. D. European Universities from the Enlightenment to 1914, (2004) p6.
Alexander P. A. & Judy, J. E. in Lefrançois, G. Psychology for Teaching, Wadsworth, Belmont (2000).
Bauer, C.; Viola, K.; Strauss, C. Management skills for artists: ‘Learning by Doing’? International journal of cultural policy. 17 (5), (2011), p626-644.
Biggs, J, Teaching for Quality Learning at University. SHRE and Open University Press (1999).
Chatterjee, Helen and Hannan, Leonie, Engaging the Senses: Object-Based Learning in Higher Education, Part one the Pedagogical value of object-based learning, Published London Routledge (2016) p1.
Cooper A Peter, Paradigm Shifts in Designed instruction: From Behaviorism to Cognitive Constructivism’ Educational Theory Vol 33 No 5 ( 1993) p12 – 19.
Eikhof, D.R.; Haunschild, A. For art's sake! Artistic and economic logics in creative production. Journal of Organizational Behavior. 28(5), ( 2007) p523–538.
Freire, P. Pedagogy of the Oppressed. New Revise. London: Penguin Books. (1996).
Fung, Dilly, A Connected Curriculum for Higher Education. London, UCL Press (2017).
Findeli, A, ‘Rethinking Design Education for the 21st Century: Theoretical, Methodological, and Ethical Discussion', Design Issues 17(1), (2001) pp. 5-17.
Hayward, David. The student experience in art and design higher education: drivers for change’. Chapter 4: -BAU - WOW! A model for creative practice, thinking, learning, research and innovation in the 21st century, Questioning current learning cultures in art, design, media, and communication. (2007).
Ingold, Tim, Making – Anthropology, Archaeology, Art, and Architecture. Routledge (2013) p31.
Jamieson, P.J.; Fisher, K.; Gildng, T.; Taylor, P.G. & Trevitt, A.C.F. ‘Place and space in the design of new learning environments’ higher education research and development, 19 (2), (2000) pp.221-237.
Keeton, M. T, Sheckley, B. G., & Griggs, J. K.. Efficiency and effectiveness in higher education. Dubuque, IA: Kendall/ Hunt Publishing Company. (2002).
Kimbell, L,‘Rethinking Design Thinking: Part I’, Design and Culture, 3(3), Llewellyn, A. and Hogan, K. (2000) pp. 285–306.
Kolb D. A. Experiential learning: Experience as the source of learning and development (Vol. 1). Englewood Cliffs, NJ: Prentice-Hall. (1984) p38.
Kolb, Alice and Kolb, David, Learning Styles and Learning Spaces: Enhancing Experiential Learning in Higher Education, Academy of Management Learning & Education, Vol. 4, No. 2 (2005), pp. 193-212.
Komurki, John. Risomania, The new spirit of Printing 2rd Edn, Chapter 1: The Risograph, Published by Niggli (2018) p14.
McRae, Andrew, THE Journal, Leading Statements, N2345 ( Feb 2018).
Mann, S. J. ‘Alternative Perspectives on the Student Experience: Alienation and engagement.’, Studies in Higher Education, 26(1), (2001) pp. 7–19.
Maitland, B.M, ‘Problem-based Learning for an Architecture Degree’. In: Boud, D. and Feletti, G. (Eds), The Challenge of Problem-based Learning. London: Kogan (1991).
Matos, Sonia and Gieben-Gamal, Emma, Proceedings of the NORDES 2017 Conference, Social design and participatory research: Transforming the Curriculum in Higher Education, Published by Edinburgh Collage of Art (2017) p1.
Minogue, James. “Haptics in Education: Exploring an Untapped Sensory Modality” Review of Educational Research Fall, Vol. 76, No. 3 (2006), p317.
Moussouri, Theano, A context for the development of learning outcomes in museums, libraries and archives. Resource, (2002).
Nobel, Ian and Bestley, Russell Bestley, Visual Research Methods in Graphic Design, 3rd Edn, London: Bloomsbury 2016 Chapter 07: Process and Materials, (2016) p172.
Olsen, B, In Defense of things. Plymuth, Uk: Altamira Press (2010).
Reece, I & Walker, S. Teaching, Training and Learning, Business Education Publishers Limited, Sunderland (2004).
Rigley, Steve, Eye Magazine ‘Education: Buying Time’, Issue 79 (2011) p98-99.
Shaughnessy, Adrien Studio Culture: The Secret Life of the Graphic Design Studio, London: Unit Editions, (2009) p12.
Snaith, Sarah, ‘Technical Challenge’ Eye Magazine No95 Vol24 (Jan 2018) p18-19.
Stones CM, Cassidy T “Seeing and discovering: how do student designers reinterpret sketches and digital marks during graphic design ideation?”, Design Studies. (2010) 31.5: p439-460.
Triggs, T ‘Collaborative Learning: the social in social design’, in Developing Citizen Designers. Bloomsbury Academic. (2016).
Tuckett, Tabitha and Lawes, Elisabeth, "Object Literacy at University College London Library Services" Art Library's Journal, Volume 42 Issue 2 (2017) p99- 104.
Wadsworth, B. Piaget's theory of cognitive and affective development. New York: Longman (1989)
Walters, Benjamin, The Work of Art in the Age of Mechanical Reproduction, in Illuminations (London, Pimlico (1935) p3.
Waks, Leonard, Education as Initiation Revisited: General Rituals and the Passage to Adulthood,' Philosophy of Education (2013) p129-132.
Warnick, Bryan,"Ritual, Imitation, and Education in R.S. Peters," Journal of Philosophy of Education, Issue 43, (2010)