What is a Zine?
Political and personal beliefs.
Often hand drawn, photocopied, printed, made with little money or sleekness- low tech
big in the 70's punk scene
A zine is usually a non – commercial, non professional publication, kind of like a magazine but with a twist. The main difference between a magazine and a zine is that zines are not out there to make a profit but, rather, to add other, often unheard voices into the mix. Zines are usually made out of interest and passion and are often self-published by the writer/artist/creator.
Typically zines are made using collage techniques and are then photocopied since these are means available to almost everyone. What I like best about zines is that they provide a voice for all; outside of the mainstream, of alternative, from the underground, the margins of society.
The majority of the current publications out there offer only a narrow perspective, and zines are the natural antidote to that, especially since anyone can make them.
Before zines became what they are today there was an amateur press movement in which publications were created by people who then distributed them to a larger group of people through mail. Many of the first zines were science fiction fanzines created in the 1920s and 1930s through which science fiction fans would speculate and discuss various topics. Later on, in the 1950s with the Beatnik era, poets and other artists would make small leaflets with their poems as means of self promotion. Many avant-garde movements, including the Dadaists and the Situationists, also self-published pamphlets and manifestos. The 70s saw punk zines being created as part of the punk movement and in the spirit of the DIY (do it yourself) culture that came along with it. In the 80s, a zine called Factsheet 5 began reviewing zines, thus creating a somewhat more formal zine scene. In the 90s, many zines were made as part of the Riot Grrl movement. Today, zines are still being made, by all sorts of people on all sorts of topics, ranging for comics to radical politics to stories for children to personal zines to literary reviews to teapot collections. Many of these zines are sold in alternative stores but many are also distributed through distribution centres that stock a bunch of zines you can order. There are even a few zine libraries as well; in Toronto this includes the Toronto Zine Library located in the Tranzac at Bloor and Brunswick, and the OCAD zine library located in OCAD.
Love the punk, college feel to this Zine. Really aesthetically beautiful and messy at the same time.
Sniffin' Glue wasn't the first fanzine - punk, which started self-publishing in New York six months earlier – but its primitive Xerox'n'Sellotape aesthetic was the perfect medium to capture British punk's early energy, and to inspire a generation of copyists.
Founded by bank clerk Mark Perry, its first cover boasted (in felt-tip scrawl) stories on the Ramones and Blue Öyster Cult. Soon, however, Sniffin' Glue was offering grass-roots reportage on British punk's first flowering, while also lambasting the Clash for signing to the major label CBS. Sniffin' Glue was primitive but opinionated, offering a crucial alternative voice to the mainstream music papers (most of which were late to cover punk's rise) at a time when none was available.
Though Sniffin' Glue never actually printed the legendary instructions often ascribed to it – "This is a chord. This is another. This is a third. Now form a band" – (that was Sideburns, another punk zine from 1977), its example spawned a slew of followers – including Jamming!, Burnt Offering and Chainsaw (which featured ribald cartoons from a young Andrew Marr) – and established a culture of DIY underground rock criticism that thrives to this day, both in print and online. Perry, meanwhile, ended Sniffin' Glue in 1977 after 12 issues, concentrating on his own punk group, Alternative TV.
Zine by Active distribution
Abolish Restaurants is an illustrated guide to the daily misery, stress, boredom, and alienation of restaurant work, as well as the ways in which restaurant workers fight against it.
The Comet, fanzine from c.1940
The comet (above) does not really appeal to me. It is simple, sure, but it doesn't aesthetically interest me.
Handmade & Bound is an independent fair with handmade artists’ books, comics and zines.
Zineswap is a service that allows you to swap your zines through the post. You send us your zines, they send you a random selection of other zines in return.
This is a colourful and creative zine. contrasting Sniffin glue. Non-punk, almost opposite
This blog looks at design and self-publishing; any amateur, independent and irregularly self-produced publications that cover a wide range of subjects and graphic approaches.
This blog is a way for fellow "zinesters" to share opinions and understand where the world of creating zines is going
No.Zine as shown above is an independent arts zine, released in series and featuring a variety of young artists, designers, writers, photographers and illustrators. Each issue is conceptually centred around it's issue number.
I really like the simple aesthetics to this Zine. In a way it contrasts the punk, low-tech tradition but I think still embodies the idea of what a zine is meant to be to the person who reads it
(above) This little gem of a zine produced by journalist Alex Zamora with design by Simon Whybray has caught the imagination of a new generation of designers and social networkers. The striking use of pink paper and distinctive hand drawn lettering gives it a sense of tactility as the ‘brand’ moves online where through their website, you can connect on to the zine’s other platforms: YouTube, MySpace, Flicker and Twitter. The future is certainly pink.
Paula Rego and Honore Daumier
Going into the exhibition I felt a calming but almost relaxed tension. As if something was about to happen. The beautiful mostly monochrome images that were surrounded were juxtaposed by the darkly coloured walls, that separated each room of the gallery but also gave a sombre quality to the atmosphere in the rooms and felt heavy against the thought provoking, sinister, powerful images that lay simply before me. I really enjoyed it and felt the curation of it and how many of the images were twinned next to similar prints done by the artist was very clever.
I love and will try and create the same mixture of fantasy and reality that tim walker brings to these enchanting photos.
(above) I really appreciate the feel of these collages by cless and like how he has used the things around him to create a visually rich and depth quality to his work.
Villains are usually villains because they have power and they abuse that power.
I thought it would be interesting to play with that and make them, through abstract collage, look like the vulnerable helpless ones.
What is power?
In social science and politics power is the ability to influence or control the behavior of people. The term authority is often used for power perceived by society. Power can be seen as evil or unjust, but the exercise of power is accepted as endemic to humans as social beings. In the corporate environment, power is often expressed as upward or downward. With downward power, a company's superior influences subordinates. When a company exerts upward power, it is the subordinates who influence the decisions of the leader.
The use of power need not involve force or the threat of force. At one extreme, it more closely resembles what everyday English-speakers call influence, although some authors make a distinction between power and influence – the means by which power is used.
What can power do to a person?
"When people feel powerful or feel powerless, it influences their perception of others," said Yap, who is now a postdoctoral researcher at MIT. According to their understanding, we judge the power of others relative to our own: When we feel powerful, others appear less so --and powerlessness and smallness often go together in our minds.
Yap's conclusion nicely illustrates what we've always known anecdotally: Power gets to our heads. A decade of research on power and behaviour show there are some predictable ways people react to power, which can be simply defined as the ability to influence others. While power in governments and across the world can come at incredible costs, in a lab, it's surprisingly simple. Asking a person to recall a time he or she felt powerful can get them in the state of mind. There's also the aptly named "dictator game," in which a participant is made powerful by putting them charge of doling out the compensation for another participant.
Researchers have even found you can make someone feel power just by posing them in a dominant, expansive body position. Like athletes, for example: Arms outstretch, back arched. Even blind athletes have been known, upon victory, to strike the same pose. They didn't learn it by seeing anyone do it. There's something fundamental.
Power isn't corrupting; it's freeing, says Joe Magee, a power researcher and professor of management at New York University. "What power does is that it liberates the true self to emerge," he says. "More of us walk around with kinds of social norms; we work in groups that exert all pressures on us to conform. Once you get into a position of power, then you can be whoever you are."
This manifests in several different ways. For one, the powerful are seen to be less likely to take into account the perspective of others. In one experiment participants were primed to feel powerful or not, and then asked to draw the letter "e" on their foreheads. The letter can be drawn so it looks correct to others, or correct to the person drawing. In this case, high-powered people are two to three times more likely to draw an "e" that appears backwards to others. That is, they were more likely to draw a letter that could only be read by themselves.
Power lends the power holder many benefits. Powerful people are more likely to take decisive action. In one simple experiment, it was shown that people made to feel powerful were more likely to turn off an annoying fan humming in the room. Power reduces awareness of constraints and causes people act more quickly. Powerful people also tend to think more abstractly, favoring the bigger picture over smaller consequences. Powerful people are less likely to remember the constraints to a goal. They downplay risks, and enjoy higher levels of testosterone (a dominance hormone), and lower levels of cortisol (a stress hormone).
"People who are given more power in the lab, they see more choice," Magee says. "They see beyond what is objectively there, the amount of choice they have. More directions for what actions they can take. What it means to have power is to be free of the punishment that one could exert upon you for the thing you did." Which paves the way for another hallmark of the powerful--hypocrisy. Our guts are right about this one. On a survey, powerful study participants indicated that they were less tolerant of cheating than the less powerful. But then when given the opportunity to cheat and take more compensation for the experiment, the powerful caved in. The authors explain how these tendencies can actually perpetuate power structures in society:
This means that people with power not only take what they want because they can do so unpunished, but also because they intuitively feel they are entitled to do so. Conversely, people who lack power not only fail to get what they need because they are disallowed to take it, but also because they intuitively feel they are not entitled to it.
Where there's hypocrisy, infidelity seems to follow. While stories of politician infidelity are high profile and more therefore salient -- think Mark Sanford flying to South America to be with a lover while telling aides he was hiking the Appalachian trail, or Arnold Schwarzenegger's secret son -- there is evidence that the powerful are more likely to stray into an affair. In a survey of 1,500 professionals, people higher ranked on a corporate hierarchy were more likely to indicate things like "Would you ever consider cheating on your partner?" on a seven-point scale (this was found true for both men and women). Dishonesty and power go hand-in-hand. In his most recent research, Yap found that just by posing people in the outstretched, power position, they would more likely to take more money than entitled for their time. (Posing like this for two minutes was also found to increase testosterone and lower cortisol hormone levels. So if you want to feel powerful, make yourself big.)
Though it's not that the powerful are bad people. "There is a tendency for people to assume power holders are uncaring, they're cold, they don't care about the little people," says Pamela Smith, a power researcher at the University of California San Diego. But that's not always the case. It depends on who gets the power. "You put someone in an experiment, temporarily, in a high-powered role, and what you find is that people who say they have pro-social values, the more power they have, the more pro-social they are. The people who say they have more self-centered values tend to be more selfish the more power they have."
The lock symbolises the unveiling and discovery of this concealed, hidden world where the evil, powerful people of fiction and reality are shown to be vulnerable and in danger rather than the dangerous one.
I collaged with found images in magazines and on the internet that were either bleak, lonely, depressing backgrounds or fuzzy, masked people emphasising the blur and destruction of the situation or characters from reality to add.
The symbol of power
The Reiki Power Symbol – "Choku Rei"
The design for the back cover
In the end I put the lock onto tracing paper belly band. more lock like. looks a lot better and feels more like a finished piece.
ABC imaging in Farringdon
Front cover = thicker glossy card
Inside = all pages were glossy, thin paper
I liked the high quality feel of the glossy paper, think it makes everything look more professional
No acetate = the lady at the shop persuaded me not to put sheets of acetate in my book as it would sit weirdly and doesn't fold properly