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.
