Five Minutes With...Gabriella Marcella

Tell us a little bit about yourself and the RISOTTO brand, how did it all begin?

RISOTTO is Scotland’s leading risograph print and design studio, launched in 2012. What began as a personal obsession with print has evolved into a full-blown studio, producing colourful stationery, running workshops, and collaborating with brands and institutions around the world.

We’re known for our playful aesthetic, and as a colourful alternative to mass produced paper goods!

Why did you want to partner with Bisley?

I’ve admired Bisley’s legacy of timeless, practical design for years. This collaboration felt like a natural meeting point – two very different practices that both celebrate colour, utility, and British manufacturing.
We’re both passionate about making tools for creative workspaces – whether it’s stationery or furniture – so it’s been brilliant to reimagine Bisley’s classics through a RISOTTO lens, adding a layer of graphic joy to something already so well designed.

What is your favourite Bisley item and why?
The MultiDrawer, hands down. We already use vintage ones in the studio – they’re such classic pieces and unbelievably useful. I love that they’ve stood (and will stand) the test of time, and bringing new energy to them with colour blocking and playful detailing felt like the perfect way to honour that history while pushing things forward.

How was the Tetris design process? Where did the inspiration come from originally?
Tetris was developed as a modular artwork whilst on an arts residency at the Jan Van Eyck in the Netherlands (2018), and is inspired by one of my favourite puzzles of all time. Organising the endless stream of geometric shapes gives me intense satisfaction. The artwork has seen various iterations of the years, and is filled with the same motion and modularity that I apply in the studio every day – laying out prints, cutting stencils, playing with shapes. It’s a system that brings order through play, which felt really fitting for this collaboration. For the Fern range, I’ve adapted the pattern into two new colourways to reflect Bisley’s evolving palette – balancing boldness and harmony while allowing each component to feel like part of a larger rhythm.

How did you balance staying true to the mid-century roots of the MultiDrawer, while giving it a modern twist?

The key was respecting the simplicity of the form, and letting the colour do the work. I wanted to echo mid-century modularity and logic, but through a RISOTTO lens – injecting joy, contrast, and unexpected pairings that still feel grounded in the Bisley DNA.

Why do you think mid-century design remains so appealing today?

Because it knows when to stop. There’s a bold clarity in the forms and proportions – no bells and whistles, just purpose and framework. It’s a timeless quality that leaves space for personality, which makes it endlessly adaptable.

Tell us more about your studio revamp coming later this year.

We’re nearing the end of transforming our new RISOTTO HQ in Glasgow – a dream space that’s equal parts print studio, costume department, and dispatch hub. It’s been my biggest investment in RISOTTO to date, designed as our own North Pole: the ultimate production environment.

I’ve treated it as much like an interiors project as an art installation – filled with bespoke structures, postmodern collectables, future costumes, and all things paper. We’re aiming to launch to the public this November, with a new workshop programme and a celebratory exhibition marking the 100th issue of our monthly print club, RISO CLUB.

What’s been your favourite project to work on to date?

I’m torn! I love working for brands on special projects (whether it’s bringing creativity to life at the Pinterest Beach during Cannes Lions, or adorning Buses for Cop26) – but honestly, designing our studio from top-to-toe, and complemented wonderfully with the Bisley collaboration is right up there. It’s rare to find a partner so open to colour and experimentation, and the idea that storage can be sculptural and expressive is something I’ve long wanted to push.

What inspires you most in your day-to-day?

Systems, colour, paper, and the rhythm of making. There’s always something energising about the quiet logic of process – print is a craft that rewards expertise and play in equal measure.