Rationale
Zines are non-commercial, non-professional publications that
have been self-produced, using very basic methods such as cut and paste and
photocopying. They then go on to be published and even distributed by the
individual who created them, which may be via hand or through independent book
or music stores. With a small circulation, they have a distinct aesthetic,
however their subject matters are wide ranging. From music to food politics,
zines cover just about everything, whilst offering an experience different to
any other.
Zines have always been a place for people to let their voice
be heard, and are a perfect example of participatory media, where the audience
is able to play an active role. This is one of the many reasons they appeal to
such a wide-ranging audience, as well as creating a special connection between
reader and author. They became a place where individuals could construct
identities, communities and relationships in an uninhibited and irreplaceable
manner. These relationships and sense of community go on to be reinforced by
methods of production and distribution.
In order to synthesise this information into a practical
project, there were a number of elements that had to be taken into
consideration. These elements comprised of the main themes within the written
element – distribution, production, social practices and the rise of
technology. Initially, I set out to produce a small circulation of zines, and
supporting products, that aimed to construct relationships and a sense of community.
There was a focus on how each factor would affect the audience in terms of how
it allowed them to play an active role. It would there be the content, or the
subject matter, that would reinforce the research.
The most important aspect for me was to really instil a
sense of community and to facilitate human connection within my practical work.
A zines primary function is to communicate, and this type of medium allows for
the possibility of gaining closeness and trust with complete strangers. In order
for me to emphasise and underline this, I chose a topic that would allow me to
spike interest, curiosity and intrigue. It was decided that I would explore an
individual’s inquisitiveness, and their ability to be quite intrusive and
‘nosey’, through the use of their own unknown passions and interests. For me to
be able to build up my content, it was necessary for me to compile a small
questionnaire that focused on the interests of a number of different
individuals. These interests would have to be unknown to others around them in
order to create interaction with the content.
Production
Once this information was gathered, the title of ‘Involved’
was given to the publication, leading to tag-lines such as ‘Be Involved’ and
‘Get involved’. This displayed the aura of the book successfully, hinting at
contribution and relationships. The content was then used to build up quotes,
image and illustration. The method of production mirrored my research,
following the original approach of zine creation, embracing a DIY ethic. All
elements of text and illustration were produced by hand, with the overall
layout being put together through the use of cut and stick, digitising this
with the help of the scanner. These elements could then be played about with in
Illustrator. It was paramount that I didn’t ignore technology throughout this
process. From my research, it was clear that advances in technology have
facilitated design, and it should be seen as a shift in the right direction. I
found that it made things a lot faster in terms of print and I was able to work
more efficiently as I could experiment with programmes such as InDesign,
allowing me to organise and coordinate my designs. InDesign also offered me the
opportunity to print in a booklet format, which could be done cheaply and with
ease. Overall, it cost me 46p to print my entire publication, in greyscale to
reduce cost, which reflects my research in terms of cheap production. By
printing myself, I was giving myself the opportunity to create a small
circulation number at extremely low cost. Research into print costs at places
such as Footprint showed that printing was extremely affordable, however, I was
after a much smaller print run than they were able to offer.
Distribution
In terms of distribution, I felt that this is where I would
really be able to create a connection, allowing individuals to interact with
the content, finding out more about certain users. In terms of physical
distribution methods, the zine itself is packaged in a way that reflects my
research, using aesthetics typically seen within the zine community. The
publication and its supporting products are placed in a see-through press-lock
bag that is formatted so that it is able to mailed out to the audience. This
will be the main method of distribution as it creates a special connection
between author and reader, offering them something physical, mirroring a gift
culture. The first issue would also be placed in an environment where it could
be picked up and read, at no cost. This would spark interest and get people
talking about the content. People are known to be inquisitive; therefore this
method would introduce participation, causing the audience to play an active
role. The zine would also be available from zine fairs and independent
bookshops. In addition to this, I wanted to use the Internet to aid
distribution, as it would allow me to reach a much larger target audience, as
well as offering exposure through the use of sites such as Etsy. In order to
get people involved, a website specifically designed for ‘Involved’ has been
used alongside the physical elements that allows the audience to find out a bit
more about the project, as well as purchase and contribute. The site and the
mailing address are linked to the zine itself, as well as to supporting items
that can be handed to friends in order to build up awareness. The cost of the
zine itself it not of great importance, as the aim is not financial gain. The
cost will simply cover printing costs, and will not be increased in order to
make a profit.
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