Agile City Member Spotlight: Gabriella Marcella – RISOTTO

For our next instalment of our Agile City Member Spotlight, up steps Glue Factory Studio holder, Gabriella Marcella!

RISOTTO is print and design specialist run by designer Gabriella Marcella. Coming up in April, RISO CLUB 100 marks a milestone for this not-for-profit project, celebrating the work of over 400 contributing artists, alongside special workshops and tours here in Glasgow.

We asked Gabriella a few questions to get to know her better, and learn more about the upcoming RISO CLUB 100 event!

Gabriella Marcella in the RISOTTO studio.

How long have you been a tenant at Glue Factory & what attracted you to the building?
I’ve been at The Glue Factory for around 14 years now, so it really feels tied to the story of RISOTTO.
What first drew me to it were the fellow tenants: Bespoke Atelier, Robbie Thompson and the DIY programme they hosted in the space.
The fact that it wasn’t polished, and the kind of freedom that made it feel possible to build something from scratch. As a designer, I’ve always liked spaces that still have room for imagination, and Glue Factory has always had that.

Since you’re surrounded by other studio holders at the Glue Factory, how does that proximity to other creatives influence your work?
It makes a huge difference. Even when everyone works on very different things, a shared energy in the building keeps things lively. Being close to other makers, artists and businesses reminds you that creative work can take many forms. It’s not always about direct collaboration either, sometimes it’s just being surrounded by other people making things happen.

What was your inspiration for starting RISOTTO and RISO CLUB?
RISOTTO started from a love of print, colour and making design feel more accessible and physical. I liked that risograph sat somewhere between design and printmaking, and that it had its own quirks and imperfections. It never felt too slick or too distant. It felt human. Over time the studio grew into a place where I could make my own work, print for others, and build a business that still felt creatively led.

RISO CLUB came later from a similar instinct. I wanted to create something simple, useful and generous that could help distribute artists’ work in an affordable way. The idea of a postcard felt perfect because it’s democratic, collectable, easy to post, and rooted in exchange. It allowed us to build a project connecting artists, places and people through the post.

With RISO CLUB, you’ve built an inspiring, international creative community. Are there any unique connections or meaningful projects you want to highlight?
What feels most meaningful is the scale of the network we’ve built slowly over time. We’ve now worked with over 400 artists from all over the world, and many of those connections began with a small invitation leading to another introduction. I love that the project has created this growing creative map of places through print. It has introduced us to artists we’d never have found otherwise, and it has also allowed contributors to discover one another through the Club.

The project is still very hand-made and personal, which I think is part of why people connect to it. In a time when so much is fast and digital, there’s something special about receiving printed work through your letterbox from an artist in another city or country.

Tell us more about RISOTTO HQ’s opening, how did you design and create such a unique space?
RISOTTO HQ has been years in the making. The space grew from very practical needs, but I wanted it to feel ambitious too, not just functional. I was interested in how a workshop could still feel theatrical, colourful and totally reflective of our design language. The final space is really a one-stop shop for how we work now: studio, print room, storage, and costume department, all stacked together!

A big part of the design was creating systems that support the reality of a small but very busy studio. Everything had to work hard. The large stepped green structure, custom storage, curtains, wheels, and modular furniture all stemmed from a desire for flexibility, visibility and good flow. I worked with brilliant collaborators to make it happen, and the result feels like a visual reflection of what RISOTTO is about: colour, problem-solving, production, and play.

Is there anything else you’d like to highlight or promote?
The main thing to highlight just now is RISO CLUB 100, which is our big celebration of the project reaching its 100th issue. It’s a retrospective exhibition and public programme that looks back at the artists, places and printed matter that have shaped the Club over the years. It feels especially special to be celebrating it here at Glue Factory, because the building has been part of RISOTTO’s journey for so long.

It opens on Saturday, 11th April, and runs until Sunday the 19th April.
It’s free to visit.
A range of workshops led by artists, two poster club evenings (£29 social print nights), and daily free studio tours are all bookable through our website.

To learn more about Gabriella and RISOTTO, be sure to visit Instagram and the website.

For more information on the Glue Factory, and how to secure your own studio/hire spaces, visit the Glue Factory page.