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配色事典 _ 大正・昭和の色彩ノート = A dictionary of color combinations -- Various -- Bilingual, PS, 2010 -- 青幻舎 Seigensha Art Publishing -- 9784861522475 -- 16137afb0df4d534e5c5a6f562dea84e -- Anna’s Archive

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Então você produz zines e quer distribuí-las para além das feiras hipsters de impressos, shows de punk em porões mofados, e encontros de nerdolas da literatura independente? Conheça a moderníssima rede mundial de computadores!

A internet é duas coisas ao mesmo tempo: ela é a maior biblioteca do mundo, cheia de recursos e funcionalidades que facilitam nossa vida e nos fazem mais inteligentes. Ela também é, segundo estudiosos e não-tão-estudiosos-assim, a razão do completo caos da sociedade contemporânea. Neste texto vamos lidar com ela como o primeiro caso, e pensar que dá sim pra gente compartilhar conhecimento, arte e beleza através dela.

Então pegue aí seus zines, um arranca-grampo, uma câmera de celular e/ou scanner, e bora colocar essas obras de arte/escrita/colagem/fotografia pra todo mundo ver. Onde? Na Biblioteca de Zines, claro!

Tá, eu também amo papel. A textura, o cheiro, o barulho que ele faz ao farfalhar contra o vento... porém é interessante digitalizar seu material por dois motivos:

Há dois jeitos de digitalizar qualquer coisa: scanner e celular. Ambos tem prós e contras.

Virtualmente todo mundo tem acesso a um celular, e um app de scanner está a dois toques de distância. Porém a qualidade não é das melhores e os aplicativos, em sua maioria, são pagos (ou deixam marca d'agua na versão gratuita). Já o scanner é menos popular, e dependendo do modelo você precisa fazer pós-produção (cortar a imagem, ajustar claridade, etc) mas a qualidade é bastante superior.

Vou explicar dos dois modos, mas se você puder escolher, sempre escolha o scanner.

Não tem acesso a um? Talvez a biblioteca da sua cidade tenha, ou a escola dos seus filhos te deixem utilizá-lo, ou aquele despachante que seu amigo trabalha. Escanear suas zines pode te ajudar, também, a criar novos contatos e melhorar sua habilidade social, olha que benefício extra sensacional!

Além do scanner, é interessante você usar alguma aplicação de edição de imagens e ter um lugar pra subir os arquivos na net.

Resumindo:

1. Um jeito de escanear - celular ou scanner

2. Software de edição de imagens - como GIMP, Photopea, ou Photoshop

3. Plataforma de hospedagem

Resultado esperado: um zine preparadinho para a digitalização.

Se você o dobrou, bem, desdobre-o. Se o grampeou, tire os grampos com a ajuda de uma ferramenta pra isso ou com os dedos mesmo - cuidado pra não se machucar, hein. Um amigo de um amigo meu usa uma faquinha de pão velha, só dizendo.

Você precisa deixar seu zine escaneável, ou seja, de modo que ele caiba no seu scanner (ou na frente da sua câmera), evitando arefatos indesejados no resultado final - poeira, rasgos, sujeira, restos de comida, onde você anda guardando seus zines? Enfim.

Não pense ainda em como você quer que o arquivo final fique - foque em conseguir passar as coisas pro computador com a maior qualidade possível.

Uma nota: os artefatos indesejados que a gente precisa evitar são indesejados mesmo. Se a ideia for mostrar um rasgo, uma dobradura, ou um pedaço de cheetos, fique a vontade e não os retire.

Resultado esperado: um ou mais arquivos .jpg ou .pdf do seu zine.

Há dois tipos de scanner no mercado: flatbeds e paper feeder. Em português, "scanner de vidro" e "scanner que come papel". Péssimas traduções, mas é bem essa a diferença deles.

O scanner de vidro é o mais tradicional, aquele que a gente abre o topo, encaixa o papel numa marcação (veja abaixo), fecha o topo e aperta "bora" (ou um botãozinho "escanear").

O que come papel tem tipo uma entrada de papel no topo que, ao apertar o botão de "bora", come o papel como se fosse uma impressão-ao-contrário.

Ambos tem suas pecularidades e não tenho um favorito, afinal, sou burro demais pra usar ambos. O que eu faço (e o que eu recomendo você a fazer) é: peça ajuda pra quem já sabe usar o aparelho.

Teoricamente não tem segredo, é só colocar o papel no lugar certo e mandar bala. Alguns deles tem outras frescuras, então use a boa vontade das pessoas ao seu redor e/ou finja que é uma pessoa analfabeta digital.

Se atente a:

O papel está bem encaixado?

Você tirou grampos ou materiais que podem danificar o scanner?

Ele tem alguma função do tipo "frente e verso"?

Você consegue ajustar a claridade do documento final direto na máquina?

Qual o formato do arquivo final? Prefira .jpg (se não tiver, escolha .pdf, mas salve em páginas separadas)

Escolhe o DPI correto. Pra telas, 72 é o bastante. Para impressão, o tradicional é 300 DPI. Eu voto em escanear tudo com 300 DPI, pois transformar em 72 rende mais qualidade do que escalar pra 300.

Tire uma foto. Pronto.

Mentira, tem mais que isso, claro, e parece bem mais fácil que usar o scanner. Lembre-se, porém, que a qualidade fica pior e que é difícil achar aplicativos grátis que não estraguem o resultado.

Primeiro, baixe um aplicativo de scanner. Três sugestões que encontrei na internet:

Cada app tem sua característica, mas normalmente o processo é fácil:

1. Abra o aplicativo

2. Selecione "scan" ou semelhante

3. Tire uma foto do documento

4. Siga as instruções do aplicativo para cortar, clarear ou melhorar a qualidade da image

5. Se atente: o documento ficou amassado? Tente de novo.

A única adição a esse processo que não tem a ver com o aplicativo em si é onde você vai tirar a foto. Encontre um lugar com luz - cuidado com a luz amarela, ela muda a cor das coisas - e garanta que seu telefone não está fazendo sombra no papel.

Se o resultado ficar ruim - cinza demais, claro demais, amassado, etc - refaça o processo até que fique aceitável.

Nomeie os arquivos pra não se confundir depois, e siga pro próximo passo: pós-produção.

Resultado esperado: um arquivo .pdf com seu zine, bonitinha, em ordem de leitura, pronta pro upload.

O ideal é utilizarmos um software de edição de imagem e outro de editoração. Dá pra fazer só com o de imagem? Sim, mas fica mais difícil. Aplicações possíveis:

Photopea - online, grátis, porém limitado

GIMP - open-source, grátis, curva de aprendizado mais chata

Photoshop e InDesign - ótimos, com vários tutoriais online, mas são da Adobe e essa não é uma empresa massa.

Affinity Photo e Affinity Publisher - pagos, mas é "paga uma vez só pra sempre" e bem parecidos com PS e ID.

Em palavras gerais, o que você precisa fazer é:

cortar os arquivos do mesmo tamanho;

fazer uma edição mínima para ajustar o contraste;

juntar tudo em um PDF só.

Para facilitar, vou explicar o processo em detalhes usando o Photopea.

Atenção: VÁ COM CALMA. Só na produção desse tutorial ele travou três vezes. Não estresse se isso acontecer com você, é a vida, segue o jogo.

1. Selecione a aba Cópia impressa

2. Clique em Criar.

3. Selecione um de seus arquivos de imagem.

4. Para ajustar cores e contraste:

No menu superior, vá em Imagem > Ajustes

1. Se quiser mexer no brilho e contraste - como o branco e o preto aparecem, ou como as cores se relacionam - vá em Brilho/Contraste ou em Níveis.

2. Se quiser mexer nas cores, tirar o amarelado da lâmpada ou algo semelhante, vá em Balanço de Cor.

3. FUCE muito! Não tenha medo!

5. Para cropar a imagem (e remover partes indesejadas) aperte a letra "C" e selecione a ferramenta de Crop. Se o atalho não funcionar, selecione a ferramenta na barra vertical à esquerda.

6. Para ter certeza que a imagem está no tamanho certo:

1. Vá em Imagem > Tamanho da Imagem

2. Escolha Milímetros.

3. Clique na âncorazinha, e selecione os números:

1. A4: 210 de largura x 297 de altura x 300 DPI

2. A5: 148 de largura x 210 de altura x 300 DPI

7. Se estiver de acordo, clique em Salvar.

8. Nomeie o arquivo (ex: zine-1.pdf e zine-2.pdf) e salve-o na mesma pasta dos outros

9. Repita até as páginas do zine acabarem.

Quando você acabar, você terá vários arquivos em formato .pdf reunidos. Agora vamos juntá-los em um só. Para facilitar, existem aplicações que fazem isso de graça pela internet, como:

Pronto! Você tem, em suas mãos, um arquivo digital com seu zine, perfeito para explorar o mágico mundo da internet.

Para guardar esse arquivo, recomendamos o Google Drive ou o Dropbox.

Esse processo eu deixo com você, afinal, existem inúmeros tutoriais de "como subir um arquivo no drive" pela internet.

Simples: cadastre seu zine na Biblioteca de Zines (a gente tem um formulário só para isso!) com o link de compartilhamento do Google Drive, e acabou!

Espero que você tenha curtido esse tutorial e que, com ele, possa digitalizar toda essa rica biblioteca de zines que você tem nas mãos. Lembre-se de digitalizar e compartilhar as zines que você fez. Só compartilhe zines dos outros se eles autorizarem ou se elas forem muito raras - dê uma pesquisada antes pra ver se a pessoa autora tá por aí e se ela autoriza.

Se quiser ver um resultado, pode visitar meus zines na Biblioteca de Zines, procurando "Angelo Dias" na busca. Particularmente recomendo essa aqui, feita à máquina e digitalizada.

Angelo Dias é programador, escritor, designer, e organizador de surubas. Ele é o editor do Tempos Fantásticos, jornal satírico de ficção científica que virou livro, tem uma newsletter quinzenal e um podcast diário. Ele produziu zines em 2018 e desde então promete que vai voltar, mas fica difícil com tantos projetos né?

Angelo é um dos mantenedores da Biblioteca de Zines, está abertíssimo para conversas no seu Bluesky e pede encarecidamente: assinem sua newsletter.

Essa é a newsletter da Biblioteca de Zines, um projeto independente com intenção de arquivar zines brasileiras. Aqui você pode acessar publicações de todo país, e também cadastrar a sua. Explore, leia, divulgue, e mais importante, FAÇA ZINES!

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Sobre materiais, escanear, pós-produção e upload!

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Segunda- Zine político ou manifesto

Terça- comic zine

Quarta- fotozine

Quinta- perzine (zine pessoal)

Sexta- fanzine

Sábado- zine de arte ou DIY

Domingo- zine literário

Bônus- 24 hour zine (feito em 24 horas ou menos)

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ZineWriMo/Zinetober/Make-a-zine-week

Zines temáticos da biblioteca com artigos sobre zines, revisão de literatura, indicações de zines e evento dentro a temática, artigos sobre a biblioteca e sua administração)

Programação mensal: palestras, oficinas, workshops ou cursos mais longos (textos e gravações de vídeos), tudo gratuito

seção de recursos para fazer zines

seção de referência científica e midiática sobre zines (tbm com submissão aberta)

Seria legal conseguir patrocínio ou entrar em editais culturais para expandir a biblioteca

marketing comunitário

Exposições virtuais temáticas de zines (marketing das obras)

Política de desenvolvimento de coleções da biblioteca (não está claro pro público quais são os critérios, se há um processo de submissão onde as zines podem ser rejeitadas)

Divulgação de outras fanzinotecas pelo mundo

Além do acervo, quais são os outros serviços para os leitores e para os zinesters?

Fale com um bibliotecário: referência (por e-mail ou formulário)

Formulários de sugestões (não de materiais) e avaliações da biblioteca

Contribuições de artigos sobre zines (como reviews de zines estrangeiras e nacionais, processo de produção de zines, etc)

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https://substack.com/browse/staff-picks

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Verifying you are human. This may take a few seconds.

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Slides:

Zine Templates:

MetaZine-Slides com QR Code:

Projeto escrito com levantamento bibliográfico:

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Page turn effects

You can choose between five different turn page effects: flipbook magazine, book, slider presentation, cover flow and one page flip. We also support Right-to-left flipbooks.

Responsive

The PDF can have any kind of page size A4, A5, portrait, landscape and non standard sizes, the converted flip book will resize according to the device. They look great on mobile phones, tables both in android, iOS and all the desktop browsers.

Customization

After the conversion you can highly customize the publication, changing logo, background, text, navigation control styles, controls to show and hide. You can make the flipbook look the way you want in a quick and easy way.

Download offline flipbook

It's also possible to download the html flipbook to view offline or upload it to your website, with the professional plan we will also help you in any specific customization you need for your site.

Videos and pictures

Add interactive videos and pictures on your flipbook to create immersive publications and engage your audience even more.

Links and web iframes

Create links between pages or between flipbooks. Use web iframes to embed maps, calendars, agendas, panoramas, forms, payment gateways or any kind of web content.

Admin panel

We provide an admin panel where you can manage everything and where you can further customize your publications after the basic customization of the site.

Free

The Heyzine free pdf to flipbook converter don't bother you with annoying watermarks and ads. Our viewer is watermark free, so your flipbooks will look professional without having to pay anything.

Integration links

We also provide different thumbnails and styles to link or directly share everywhere. The link previews will look good on all social networks.

API access

If you are a developer, we have an API you can use to automatically convert your flipbooks. Our API is fast, reliable and very easy to integrate in any system. With our professional plan we will help you with your integrations.

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Page turn effects You can choose between five different turn page effects: flipbook magazine, book, slider presentation, cover flow and one page flip. We also support Right-to-left flipbooks. Responsive The PDF can have any kind of page size A4, A5, portrait, landscape and non standard sizes, the converted flip book will resize according to the device.

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All-in-one workspace for your creative journey • xTiles

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Easy-to-use solution for task management & planning, collaborations, and building knowledge bases. Use xTiles to capture ideas, plan projects or business and do creative things

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This resource offers gives you tools to and a fanzine that is enjoyable to participate in and worth paying for.

Explore the links above for guides, sample emails, spreadsheet templates, and more that will help you create and manage a successful fanzine. If you have any feedback, feel free to email [email protected] .

NOTE: This guide defines "fanzine" as a professionally printed collection of art and/or writing by multiple contributors that is distributed at cost to customers.

4 hard questions to ask yourself before starting your fanzine

Making a modern, high-quality fanzine is hard work. It requires managing 10-40 people over at least 6 months, making and sticking to a budget, tracking communications, resolving conflicts, working within constraints, and delivering a quality product to paying customers.

Not everyone is cut out to do this. Them's just the facts. Here are some difficult questions to ask yourself before you embark on your fanzine-making journey.

If you answer "no" to any of these questions, you should think hard about whether you're capable of making a fanzine. You can, of course, ignore this advice, and still make a fabulous product. I will happily applaud you.

1. Do I have (at least) $500 to burn?

As with any business venture, making a fanzine means you should be prepared to invest and lose money. There are many costs you need to cover upfront, i.e., before you have received any payment for the fanzine.

2. Am I ready to tell myself and others no?

A successful fanzine leader must know when to say no, how to say no, and to say no. Running a fanzine requires you to be honest with yourself and others about what you can take on, what you think they can take on, whether you think they will deliver, whether an idea is possible or worth executing, etc.

Consider: Making a fanzine means managing 20-40 people for 6+ months. It means building a budget, a timeline, applications, and more. It means making judgement calls about exceptions, changes, alterations, what information to share, how to share it, whether someone has broken the rules....

If you cannot say no when it counts (i.e., if you prefer to be a people pleaser), you will most likely end up with a @!$#ing disaster on your hands (angry participants and customers, low quality content, unshipped products, etc.).

3. Do people want to buy my fanzine?

Running a successful fanzine means running a fanzine that people want to buy. Making sure there's a market for your fanzine will also save you from losing money and winding up with 200 boxes of fanzines and merch overwhelming your living room with no one to buy them.

4. Is my fanzine idea unique, or does it have a unique value add?

When you come up with a fanzine idea, always consider: Why should people buy your zine if there are similar zines available? Depending on your fandom, there could be 1 or 100 other fanzines going on at the same time as yours. There is a very real possibility that one of those already-in-production fanzines is the exact same as your idea.

Do your research. Make sure you're not replicating a product (yes, a fanzine is a product), and if you are, figure out what your unique value add can/will be.

Another way to increase the uniqueness or appeal of a fanzine is to see if any popular artists and writers are willing to commit to participating upfront. These are often called "feature contributors."

Gauging interest in your fanzine

Interest checks are polls or surveys that help you gauge whether there are enough people interested in buying and/or contributing to your zine that it's worth making!

You should run an interest check before committing to making a fanzine. In combination with a cost projection based on the results, your interest check will help you determine whether you can produce a fanzine without losing money.

This means you should also have a rough (but not necessarily final) idea of how much it would cost to produce your ideal fanzine, including merchandise. This will help you determine whether the level of interest in your zine (and willingness to buy your zine at a certain price) will cover production costs.

Remember: It's okay to walk away from an idea! It might not be the right time, or it might be too niche. In the former case, perhaps you can do the project at a different scale or decide to do it not for profit.

Sample Twitter poll language: Purchaser/participant interest check Google form template: Purchaser/participant interest check Go to the full Google folder

Go to the full Google folder

So you want to know the asshole behind this colorful, fun-loving, not at all tedious, scary, or spreadsheet-heavy resource?

I am Meta, aka metaandpotatoes, a sentient potato who likes to smash words together until they break. I also really like spreadsheets. And creating things that people are happy and proud to own.

I have headed 2 fanzines, and received multiple remarks from contributors that each was the smoothest/easiest fanzine experience they have had:

Onigiri Miya: The Unofficial Cookbook

Onigiri Miya: The Unofficial Cookbook is a 76-page Haikyuu!! fanzine featuring art, recipes, and writing by 12 collaborators. Among the contributors was a social media moderator, who managed the Instagram, Tumblr, and copyediting process.

851 units were sold. The project grossed roughly 43,000 USD and netted roughly 15,000 USD, with 45% of the profits split among contributors.

Profits could have been increased by offering a group order discount for international customers and/or charging slightly more ($12, instead of $10) for U.S. shipping. The latter would have helped offset the losses suffered by keeping shipping affordable for individual international buyers.

Rebirth Dilemma

Rebirth Dilemma is a 126-page Neon Genesis Evangelion fanzine featuring 36 collaborators (7 writers, 28 artists, and 1 musical artist). While the fanzine was initially managed with one other person, I took over the project entirely after contributors were chosen.

189 units were sold. The project grossed roughly 7,000 USD, with 500 USD donated to the National Alliance on Mental Illness.

Profits were limited in large part due to a rookie move: Charging too little for shipping.

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Keywords: programming, coding, computer science, technology, data analysis, information science, web development

Harvard's CS50: Introduction to Computer Science

Harvard's CS50's Introduction to Programming with Scratch

Microsoft's Introduction to programming

Microsoft's Write your first C# code

Microsoft's Introduction to GitHub

Microsoft's Explore fundamentals of data visualization

Khan Academy's Ciência da Computação

Khan Academy's Programação

EDX's Analyzing data with Excel

FreeCodecamp

CodeAcademy

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Visualizador e edição simples (uso em aulas)
www.faststone.org

GIMP is a multiplatform photo manipulation tool
www.gimp.org

Digikam Professional Photo Management with the Power of Open Source
www.digikam.org

RawTherapee is a free RAW converter and digital photo processing software
www.rawtherapee.com

Darktable is an open source photography workflow application and raw developer
www.darktable.org

Organização de dados
https://openrefine.org

editor de texto simples
https://www.editpadlite.com/

Pacote de escritório software livre
https://www.libreoffice.org/

Georeferenciamento:
https://www.foto.art.br/tainacan/geo/legalidade/
http://sigeo.niteroi.rj.gov.br/
https://www.imaginerio.org/

Reconhecimento facial
http://www.rideau-info.com/photos/face-tag.html
https://www.xnview.com/wiki/index.php?title=How_to_add_Face_tags

Recuperar arquivos apagados (cartão, pendrive)
https://sourceforge.net/projects/kickassundelete/files/Kickass%20Undelete%201.5.5/KickassUndelete_1.5.5.exe/download

Compara diretorios:
https://freefilesync.org/

FTP
https://filezilla-project.org/

Lista pastas:
https://www.karenware.com/powertools/karens-directory-printer

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Briss 2.0
Scan Tailor

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Drexel University
ZineLibraries.info
teaching with zines
Barnard College Lesson Plans
Student clubs and making zines

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LibGuides: An Introduction to DIY Zines: More Information About Zines

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This guide will teach users about DIY zines, where to find them, and how to make your own!

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Collect everything in one place

Write notes & to-do lists

Simple text editing and task management make it easy to add your thoughts to a board.

Upload images & files

Milanote supports all common file types including JPGs, PDFs, Word, Excel, common design files and many more.

Save text, images & links from the web

Add notes & photos from your phone

Anything you save in the Milanote app will be ready to organize as soon as you're back at your computer.

Organize visually

Milanote's flexible drag and drop interface lets you arrange things in whatever way makes sense for your project.

Collaborate with your team

Use Milanote as your online whiteboard to brainstorm ideas and work with your team, wherever they're located.

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Milanote - the tool for organizing creative projects

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Milanote is an easy-to-use tool to organize your ideas and projects into visual boards. Add notes, images, links and files, organize them visually and share them with your team.

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The original document should be in PDF format. If you have a document in a format other than PDF, you should first export it to a PDF.

Here is how BookletCreator works (this example shows you only 8 pages for the sake of simplicity, but your document may be of any size):

Let's say your document looks like this:

After processing your document with BookletCreator you will get something like this:

Print the document choosing "Print on both sides" in your printer preferences. If your printer can't print on both sides automatically, do it manually. Finally, stack the pages in the correct order, fold them in half, and staple them. This is how the booklet will look when completed:

BookletCreator for Mac Features

You can combine multiple PDF files into one booklet by adding two or more files to the list.

If your PDF is password-protected you should enter the password after opening the file.

You can specify the range of pages to print in "Select Pages" column. Separate numbers in a range by using a hyphen, and separate multiple pages or ranges by using commas. To print from a specific page to the end of the document, enter the page with a hyphen. For example, "11-" prints page 11 to the last page of the document.

You can specify the paper size. If "Auto paper size" is checked, the paper will be large enough to fit two pages of the original document.

If you set "Pages per booklet" to some value other than "All", the document will be split into multiple booklets, each having the chosen number of pages or less. This option is useful when you have a large document which is not convenient to fold. Set the appropriate option to put each booklet in a separate file.

You can add page numbers checking the appropriate option.

If the last page has to be printed on the back cover, check "Put the last page on the back cover".

Check "Flip backs upside down" if you have a duplex printer (the one that can automatically print on both sides of the paper).

You can automatically rotate landscape pages clockwise or counter-clockwise.

If your document is in right-to-left language (such as Arabic or Hebrew), set the appropriate option to have the pages placed from right to left.

BookletCreator for Windows Features

Choose "Pages:" option to specify the range of pages to print. Separate numbers in a range by using a hyphen, and separate multiple pages or ranges by using commas. To print from a specific page to the end of the document, enter the page with a hyphen. For example, "11-" prints page 11 to the last page of the document.

Check "Flip backs upside down" if you have a duplex printer (the one that can automatically print on both sides of the paper).

If you set "Pages per booklet" to some value other than "All", the document will be split into multiple booklets, each having the chosen number of pages or less. This option is useful when you have a large document which is not convenient to fold. If you want all the "booklets" to have the same number of pages, check the "Add blank pages to the last booklet" option.

You can also specify the PDF sheet size. If it is set to "Auto", the resultant sheet will be large enough to fit two pages of the original document.

If your document is in right-to-left language (such as Arabic or Hebrew), set the appropriate option to have the pages placed from right to left.

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The original document should be in PDF format. If you have a document in a format other than PDF, you should first export it to a PDF.

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Archive of Our Own is probably best known as the place to read fans' carefully crafted Harry Potter prequels or Lord of the Rings stories millions of words long. But the fanfiction website also has a lesser known, though no less important mission: to save older fanfic that's at risk of disappearing. A new initiative, the Fanzine Scan Hosting Project, aims to make fan stories and art from physical fanzines accessible through the Archive, preserving pieces of history previously confined to university libraries, scattered eBay sales, and forgotten corners of attics.

The project is a collaboration with Zinedom, which has been scanning and privately archiving fanzines for many years. Morgan Dawn, the project's organizer, says that the collaboration actually began with frustration directed at AO3. In 2012, Dawn had scanned a fanzine called Angel in the Dark, a 144-page novel based on crime drama The Professionals. But when paper documents are scanned, they do not come in easily editable formats, and converting them often introduces many errors that require extensive editing to fix. Not having the energy to do so, she linked out to a Google Drive containing the PDF file. But it was removed from AO3 in 2017, because the link itself was not a fan work.

The experience led to discussion among fans about the barriers to preserving fan history, including AO3's format requirement and the fact that the responsibility primarily fell to older fans, the ones with the physical zines. Dawn launched the Zinedom project to begin to combat that, with a few volunteers beginning to convert, edit, and upload some of the zines where they had permission to do so.

"It went for about a year," she said. "[But] logistically, for a small group of 20 to 30 people who weren't organized, it just didn't work." She turned to Open Doors, another segment of AO3's parent company, the Organization for Transformative Works, which is dedicated to saving "those fannish projects that might otherwise be lost due to lack of time, interest, or resources on the part of the current maintainer." It took until this year for the collaboration to get off the ground.
[Read: The Plight of the Former Fanfiction Author]
Eskici, an Open Doors chairperson who prefers to go by her online handle while discussing her volunteering, says there were several factors in the delay. The collaboration was originally piloted and approved in 2019, but was delayed by the shutdown of Yahoo Groups, which had hosted a lot of fan-created content but would be deleting all archives within a few months, leading to a scramble by Open Doors to rescue as much as they could. "We were just in crisis mode," said Eskici.

Over the last year or so, however, Open Doors' Fan Culture Preservation Project has expanded, finally giving them room to launch the Fanzine Scan Hosting Project. So far, they're making their way through the backlog of scans that Zinedom has already accumulated, which Dawn estimates is "a couple thousand."

These came from various sources, with Dawn doing a lot of outreach herself simply by searching Facebook for names she came across in zines and making phone calls. Janet Quarton, a Scottish Star Trek zine publisher and preservationist, scanned about 500 zines herself in 2013. But even Zinedom's digital collection is only a fragment of what's out there. One Zinedom participant has a collection of around 8,000 physical zines from the Star Trek fandom alone, and digs out the appropriate copies if Dawn is contacted by someone looking to save something in particular.

Open Doors is now preparing to post on the Archive those zines from Zinedom's backlog which they already have permission to share. Some of these overlap with online zine archives that they've been previously importing, like the Kirk/Spock archive. But new requests and permissions have also been coming in since the announcement, and it will be an ongoing process, with volunteers working hard to convert and edit each individual zine.

That's why, although it's an expansion of previous work, Open Doors' involvement is a big step forward in the accessibility of this era of fannish history. Both Open Doors and Zinedom have previously collaborated with university libraries, making some zine scans accessible to scholars, but these were restricted from the public-or at least, only available to those able to show up in person. Showing a broader audience that fanfiction has been around for decades is important to the people who made it.

"It means not being forgotten," said Maggie Nowakowska, the coeditor of Geek Elders Speak, an anthology of essays by older women in fandom. (Nowakowska herself is 73.) One key reason for preserving and celebrating that history is the fact that so many of the franchises key to fandom history, like Star Trek and Star Wars, have a reputation of being for boys, whereas fanfic and fanzines have traditionally been a space dominated by women. "They don't think we ever existed. They don't know that women did all these things," says Nowakowska.

Julie Bozza, an Australian fanzine author and publisher who volunteers with Open Doors, also emphasizes that preservation isn't just about making sure the best fanfiction is available to readers. It's about preserving the culture and history that got us to where we are now.

"It's really interesting to get an idea of the big picture," she said. "What tropes are being written about and why, at different times? How have things changed?" For instance, fanfiction has often been celebrated for its ability to give writers and readers a chance to explore their gender and sexuality. The terminology has changed, with words like "lemon" (denoting explicit sexual content) and even "slash" (denoting male-male relationships) falling out of favor. But knowing how and why they were used is important in understanding how same-sex relationships and women's sexualities were even more policed than they are today.

At the same time, preservation can also demonstrate the sheer breadth of fanworks. Bozza shared some scans with me, which include a series of haiku inspired by 80s sci-fi movie Buckaroo Banzai, for instance. "When you open a fanzine, you'll see cartoons, you'll see essays, you'll see poetry, you'll see snarky little comments, you'll see letters of comment," said Nowakowska. "And that's a totally different experience than just reading one story."
[Read: Could the Internet Archive Go Out Like Napster?]

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This is one disadvantage of hosting the works on AO3, where readers are more likely to run into stories by searching for specific tags than stumble onto them in an eclectic zine. Another is the fact that, although AO3 is preserving and hosting fanart from within the zines, stories are translated to the site's usual text format, losing the original formatting, font, and so on. For creators who do want to keep that available, Dawn suggests adding their work to a collection hosted by the Internet Archive-but this has its own disadvantages, as it gives up control over future deletion or amendment.

Despite some drawbacks, the zines hosted on AO3 are much more accessible, as they allow for readers to zoom in, enlarge the site, and use screen readers, all of which are impossible with direct scans. AO3 also allows creators to control how their zines are being shown to the world. For example, Open Doors will remove identifying information and publish the works anonymously, if that's what a writer wants. Ultimately, having multiple methods available allows creators to archive in a format that best suits their needs and desires.

The Open Doors expansion comes at a crucial time for zine preservation. The earliest generations of fandom as we know it today were producing work in the '60s and '70s. "I hate to say it, but we're dying off," says Nowakowska. "And we don't want this to be lost."

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The Race to Save Fanfiction History Before It's Lost Forever

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Archive of Our Own is probably best known as the place to read fans' carefully crafted Harry Potter prequels or Lord of the Rings stories millions of words long. But the fanfiction website also has a lesser known, though no less important mission: to save older fanfic that's at risk of disappearing.

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Britannica Money

Discover all you need to know about retirement, investing, and household finance, without the jargon or agenda. Get reliable guidance, insight, and easy-to-understand explanations, written, edited, and verified to Britannica's exacting standards.

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Explore the fact-checked online encyclopedia from Encyclopaedia Britannica with hundreds of thousands of objective articles, biographies, videos, and images from experts.

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Faça uma pesquisa e encontre os projetos mais interessantes dos profissionais criativos da Domestika.

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Projeto: Fanzine: um instrumento contra o preconceito racial
Responsável: Gislaine de Oliveira Gravé
Objetivos
- Apresentar o universo dos fanzines mostrando - lhes que esta produção aceita todo tipo de experimentação gráfica.
- Apropriar-se das características discursivas do gênero resenha.
- Incentivar a leitura e interpretação de diversos gêneros textuais (poemas, citações, letras de músicas, etc.)
- Refletir sobre o preconceito racial, suas causas e consequências.
Conteúdos
- Produção de texto.
- Tempos verbais.
- Concordância nominal;
- Concordância verbal.
Tempo estimado
Dois meses.

Materiais necessários
Caderno de apoio e aprendizagem 7º ano;
Pesquisas relacionadas ao tema preconceito;
Vídeo : "O xadrez das Cores"; Desenvolvimento
1ª etapa
Conversa informal sobre o que é um fanzine e suas características. Em seguida, propor a realização de atividades de interpretação de textos publicados em alguns fanzines e de entrevista com Selene Alge, autora do fanzine " Astro Nuvem". ( Atividades propostas no caderno de apoio e aprendizagem. Concomitantemente, solicitar aos alunos que pesquisem poemas e letras de músicas que abordem o preconceito.
2ª etapa
Análise de resenhas críticas de livros e filmes enfocando as principais características deste gênero textual.
Solicitar que pesquisem resenhas de filmes sobre o tema central do projeto e que apresentem para a sala.
3ª etapa
Apresentar o curta metragem " O Xadrez das Cores" de Marco Schiavon.
Após assistirem ao filme, promover um debate acerca do tema. Deixar que deem suas opiniões sobre o filme e comentem sobre suas experiências pessoais.
Solicitar que escrevam uma resenha;
4ª etapa
Sugerir que tragam para as próximas etapas, diferentes tipos de textos que falem sobre o racismo( charges, leis, relatos pessoais , imagens).
Entregar a primeira versão da resenha, apontar o que pode ser melhorado e pedir que escrevam uma nova versão da mesma.
5ª etapa
Apresentar aos

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Projeto: fanzine: um instrumento contra o... | Trabalhosfeitos

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Projeto: Fanzine: um instrumento contra o preconceito racial Responsável: Gislaine de Oliveira Gravé Objetivos - Apresentar o universo dos fanzines mostrando - lhes que esta produção aceita todo tipo de experimentação gráfica. - Apropriar-se das características discursivas do gênero resenha. - Incentivar a leitura e interpretação de diversos gêneros textuais (poemas, citações, letras de músicas, etc.)

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DIY

For the love of poetry, creativity, and community

photo by author

While I did once receive a really cool placard with one of my poems printed on it - the same as the placards that appeared above commuters' heads when a tiny example of my work was selected for "Poetry on Buses 2004" - I don't remember ever being paid for writing poems.

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For the love of poetry, creativity, and community While I did once receive a really cool placard with one of my poems printed on it - the same as the placards that appeared above commuters' heads when a tiny example of my work was selected for "Poetry on Buses 2004" - I don't remember ever being paid for writing poems.

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I want to try something a little different, just to see how people like it. I've made four printable mini-zines of a few of my recent non-time sensitive essays; all you have to do is print them out, cut and fold them as illustrated in the diagram below, and leave them on bus seats, train station benches, laundromat tables, and wherever else around the neighborhood people might pick one up and read it. I'm experimenting with different ways of throwing ideas which challenge establishment narratives over the echo chamber walls, and I figure getting literature off of the internet and into the real world might be a cool one to try.

All four zines are black and white and print on a single side of one sheet of paper. First pick one you like from these PDFs (if you want to look at the online essays in their original format before choosing one, "Babies" is here, "Humans" is here, "Hollywood" is here, and "Reality" is here):
Seeds of Sedition #1: Babies Seeds of Sedition #2: Humans Seeds of Sedition #3: Hollywood Seeds of Sedition #4: Reality
Then you print out one and fold and cut it like this:

http://blog.umamidesign.com/2013/09/zines-2/

Try it out if you feel so inclined and let me know what you think. If I get positive feedback on this, I'll make more.

______________________

Internet censorship is getting pretty bad, so best way to keep seeing the stuff I publish is to get on the mailing list for my , so you'll get an email notification for everything I publish. My articles and podcasts are entirely reader and listener-funded, so if you enjoyed this piece please consider sharing it around, liking me on , following my antics on , checking out my , throwing some money into my hat on or , or buying my book Woke: A Field Guide for Utopia Preppers.

Bitcoin donations:1Ac7PCQXoQoLA9Sh8fhAgiU3PHA2EX5Zm2

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Seeds Of Sedition: Free Printable Mini-Zines You Can Leave Around The Neighborhood

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I want to try something a little different, just to see how people like it. I've made four printable mini-zines of a few of my recent non-time sensitive essays; all you have to do is print them out, cut and fold them as illustrated in the diagram below, and leave them on bus seats, train station benches, laundromat tables, and wherever else around the neighborhood people might pick one up and read it.

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Bora fazer um zine?. "Zineiros" is published by Lucas Gehre in a nébula.

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Representacao Visual School // Design 2018.2

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Sobre a ideia inicial da fanzine, no momento eu me encontro com duas que posso seguir em frente, estou analisando qual eu me sentiria mais…

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Fanzine elabora pelas/os alunas/os: Evelin Santos Moreira, Isabelle Gomes Matos, Marcelle Carvalho Ramos de Almeida, Mayra alves Muniz e Luic dos Santos Pereira, como atividade final da Oficina: "Gêneros textuais digitais: perspectivas para utilização com alunos do ensino básico", realizada pelo bolsista Windson Pinho Vasconcelos, no Colégio Municipal Ângelo Jaqueira, com a turma do 9º ano A.

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Fanzine ganha vida no formato digital

Populares nos anos 70, publicações independentes retornam com ajuda de compartilhamento na internet

Humberto Abdo e Júlia Corrêa

Terceira edição da Feira Plana, evento anual dedicado a publicações independentes e fanzines, em São Paulo Crédito: Alexandre Furcolin

O hábito de compartilhar projetos e ideias não é uma invenção recente, mas há até pouco tempo, fotografias, ilustrações e quadrinhos pertenciam muito mais às bancas e livrarias do que ao mundo virtual. Os fanzines, publicações independentes popularizadas pelo movimento punk no fim dos anos 1970, nasceram conectados à cultura urbana e a um espírito de contestação comum entre grupos dessa época. Antes produzidos com mimeógrafos e inspirados no formato de revistas, hoje assumem uma nova roupagem e carregam muito mais aspectos do movimento maker do que se imagina.

"Cinco anos atrás, a internet criou o consenso de que os zines haviam morrido, mas o interesse pela cultura do 'faça você mesmo' deu novo fôlego aos fãs", diz Douglas Utescher. Ele e a esposa Daniela são os idealizadores da Ugra Press, micro-editora que começou como blog e loja virtual e, em julho deste ano, ganhou uma loja física no Centro de São Paulo, onde reúne as principais edições brasileiras de fanzines impressos.

Uma das novidades é que a geração atual se preocupa principalmente com os aspectos estéticos de cada página, analisa Utescher. Muitos zines se tornaram um espaço de desenvolvimento estilístico, com colagens, desenhos e outros recursos que podem funcionar até como portfólio e ainda se relacionam bem com a internet. "Hoje temos poucos fanzines de opinião, modelo bastante comum até o final dos anos 90", afirma.

O fanzine Causa Mortis começou como uma edição online feita por ilustradores nacionais e internacionais, o que ajudou na divulgação de seus primeiros zines impressos. Dimas Forchetti, um dos idealizadores, aposta no meio digital para conhecer novos formatos e artistas. Com duas versões já disponíveis, ele planeja lançar pelo menos duas novas edições online por ano.

Para Luciana Ribeiro, editora e autora do zine Objetus Lúdicus Antimatéria, o contato com criadores de diferentes locais preserva um "espírito de época", como nos anos 1970. Feito em Brasília, seu fanzine inclui colaboradores "itinerantes" que enviam artes, textos e ideias para novas edições. "Escolhemos publicar na internet para atingir um público maior, porque a circulação da versão impressa acaba ficando restrita regionalmente", diz.

Colagem publicada em segunda edição do Objetus Lúdicus Antimatéria, fanzine de Brasília Crédito: Luciana Ribeiro

Com o crescimento dos "fanzineiros", surgiram eventos como a edição anual da Ugra Zine Fest, que em setembro recebeu expositores de todo o País no Centro Cultural São Paulo, ou a Avessa, que começou no dia 8 e vai até 18 deste mês. Desde 2012, a Feira Plana também reúne editores independentes e designers anualmente - e ainda oferece uma biblioteca de acesso livre, no bairro Santa Cecília, com todo o acervo colecionado nos quatro anos de feira.

É nessas feiras que o porto-alegrense Nicolas Nardi promove oficinas para compartilhar seus métodos de confecção de fanzines, aproximando a técnica de fazer publicações artesanais ao movimento maker. Estudante de Letras, ele aposta nos zines como uma porta de entrada para o universo da leitura. Nas aulas, Nardi explica a história das publicações e ajuda aprendizes a montar seus próprios trabalhos.

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Populares nos anos 70, publicações independentes retornam com ajuda de compartilhamento na internet Humberto Abdo e Júlia Corrêa O hábito de compartilhar projetos e ideias não é uma invenção recente, mas há até pouco tempo, fotografias, ilustrações e quadrinhos pertenciam muito mais às bancas e livrarias do que ao mundo virtual.

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Palavras-chave: Fanzine, Formação de professores, Ensino de Ciências

Resumo

O fanzine é uma revista artesanal, independente e de baixo custo, o que torna possível sua utilização como um recurso didático. Dessa forma, objetivou-se relatar a atividade de elaboração de fanzines digitais por estudantes de Pedagogia como recurso didático no Ensino de Ciências, bem como refletir acerca da relevância da atividade mencionada para a formação inicial do pedagogo no que tange ao conhecimento de estratégias diversas para o ensino de Ciências. Para tanto, os discentes, em equipe, elaboraram fanzines com a temática: "A cozinha como espaço para ensinar Ciências". Os fanzines foram confeccionados com subtemas diversos, envolvendo segurança alimentar, doenças relacionadas aos alimentos, atividades culinárias, transformações químicas, entre outros. Notou-se que alguns estudantes optaram por temas que já faziam parte do seu cotidiano ou que já haviam tido contato. Enquanto outros abordaram aspectos sociais, econômicos e ambientais em seus fanzines. Dessa forma, este trabalho evidenciou que a elaboração de fanzines que abordam temas científicos permitem a aproximação de conhecimentos do cotidiano dos estudantes aos conhecimentos científicos como também, percebeu-se que os fanzines agregam aprendizagens e posturas que beneficiam a formação inicial do pedagogo e sua atuação no ensino de Ciências.

Biografia do Autor

Raquel Crosara Maia Leite, UFC

Docente da Universidade Federal do Ceará (UFC). Possui graduação em Licenciatura em Ciências Biológicas pela Universidade Federal de Uberlândia (1990), mestrado em Educação pela Universidade Federal do Ceará (1998) e doutorado em Educação pela Universidade Federal de Santa Catarina (2004). Lotada no Departamento de Teoria e Prática do Ensino , FACED - UFC. É uma das lideres do Grupo de Estudos e Pesquisa em Ensino de Ciências (GEPENCI). Professora do Programa de Pós-Graduação em Educação Brasileira (PPGE) e do Mestrado Profissional em Ensino de Ciências e Matemática (ENCIMA). Tem experiência na área de Educação e Ensino de Ciências, atuando principalmente nos seguintes temas: formação de professores, ensino de biologia, ensino de ciências, metodologias para o ensino de ciências.

Raquel Sales Miranda, Universidade Federal do Ceará

Raquel Sales Miranda, Universidade Federal do Ceará-UFC. Graduada em Ciências Biológicas (licenciatura) pela UFC, mestra em Educação pela Universidade Estadual do Ceará- UECE e doutoranda do Programa de Pós-Graduação em Educação da UFC. Participa do Grupo de Estudos e Pesquisa em Ensino de Ciências (GEPENCI), vinculado à UFC e é professora efetiva de Ciências da Prefeitura de Fortaleza- CE e professora efetiva de Biologia na Rede Estadual do Ceará. Tem experiência na área de Educação, com ênfase em Análise de Livros didáticos de Ciências e Biologia, Seleção e uso do Livro Didático, Ensino de Ciências, Saberes Docentes, Formação de Professores e Educação Ambiental.

Jarbas de Negreiros Pereira, Universidade Federal do Ceará

Jarbas de Negreiros Pereira. Graduado em Ciências Biológicas (licenciatura e bacharelado) pela Universidade Estadual Vale do Acaraú -UVA, Mestrando em Educação pela Universidade Federal do Ceará- UFC. Participa do Grupo de Estudos e Pesquisa em Ensino de Ciências (GEPENCI), vinculado à UFC e é professor da rede de ensino estadual e privada em Ibiapina- CE.

Maria Costa de Mendonça, Universidade Federal do Ceará

Graduada em Pedagogia pela Universidade Federal do Ceará (UFC). Participou do Programa de Iniciação à Docência (PID) como monitora no projeto "Ensino de Ciências: investigação como prática pedagógica", na disciplina Ensino de Ciências.

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O fanzine digital como estratégia didática na formação inicial do pedagogo para o ensino de ciências

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Palavras-chave: Fanzine, Formação de professores, Ensino de Ciências O fanzine é uma revista artesanal, independente e de baixo custo, o que torna possível sua utilização como um recurso didático.

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Modelos Grátis de Zine - Designs de Zine para Impressão

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Navegue por nossa complexa coleção de modelos de zine e crie designs de zine exclusivos em segundos com a ajuda de nosso Estúdio de Design intuitivo.

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Fanzines na cidade - Sobre fanzines criados em João Pessoa - Brasil Escola

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estudante do curso de Comunicação Social, com habilitação em Rádio e TV pela Universidade Federal da Paraíba João Pessoa - PB, Abril/2008 RESUMO: Este texto destina-se a apresentar o jeito de se fazer fanzines na cidade de João Pessoa, suas histórias, influências e conteúdos, tomando como base de pesquisa livros e artigos relacionados a este gênero e relatos de faneditores pessoenses sobre suas produções.

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Ensino Fundamental e Médio " Faça você mesmo, faça para entender, crie um mundo novo." Essa frase de Redson Pozzi, músico brasileiro engajado ao movimento punk rock, define o espírito do fanzine.

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Fanzine Expo ed.35

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A palavra ' fanzine' nasceu da redução fônica da expressão fanatic magazine. Ela provém da combinação do final do vocábulo 'magazine', que tem o sentido de 'revista', com o início de 'fanatic'. Trata-se de um veículo editado por um fã, seja de graphic novels, obras de ficção científica, ou de poemas, músicas, filmes, vídeo-games, entre outras temáticas incorporadas por estas publicações.

Enfim, são elaboradas por admiradores de certo assunto para pessoas que compartilham a mesma paixão. Eles podem ser peritos neste campo ou simples entusiastas. As publicações mais profissionais são conhecidas como 'prozines'. Em um ou em outro os temas podem ser enfocados sob diversas formas: contos, poemas, documentários, quadrinhos, entre outros.

O fanzine é uma edição sem qualquer pretensão, de vez em quando um pouco mais refinada na composição gráfica, condicionada apenas aos recursos financeiros de seu editor. Normalmente, porém, é publicada segundo parâmetros empíricos. A maior parte dos fanzines é produzida e consumida por um público mais jovem, mas também está presente entre pessoas de todas as idades.

Embora a juventude hoje domine o campo dos fanzines, os originais, elaborados na Europa, foram compostos por adultos, particularmente na França e em Portugal. Eles eram devotados principalmente às graphic novels. Apareceram primeiro em 1929, nos Estados Unidos.

Os fanzines foram muito disseminados no continente europeu, em especial na França, ao longo das revoltas de 1968. Ao contrário do que se crê eles não tiveram sua origem entre os punks, apesar destes militantes utilizarem largamente estas publicações em prol de seus ideais.

Estas tribos difundiram de tal forma os fanzines que hoje estes veículos são reproduzidos de forma bem barata. Em nosso país eles se transformaram nas ferramentas de comunicação mais utilizadas por anarquistas e adeptos do movimento punk.

Aqui a palavra fanzine se tornou sinônimo de qualquer publicação livre, apesar da tentativa de se diferenciar um veículo do outro. O primeiro zine a ser publicado no Brasil foi 'O Cobra', manifesto do Órgão Interno da 1.ª Convenção Brasileira de Ficção Científica, que teve palco em São Paulo, de 12 a 18 de setembro de 1965.

O primeiro fanzine a enfocar o tema das histórias em quadrinhos foi o 'Ficção', Boletim do Intercâmbio Ciência-Ficção Alex Raymond, estruturado por Edson Rontani no dia 12 de outubro de 1965, no município de Piracicaba, em São Paulo. Nesta capital, centro da eclosão do cenário rock and roll e underground, quando esse panorama fervilhava na metrópole, na década de 80, apareceram os primeiros fanzines compostos em estilo eclético, entre eles o Ekletik.
http://fanzineexpo.wordpress.com/o-que-e-fanzine/
http://pt.wikipedia.org/wiki/Fanzine
Texto originalmente publicado em https://www.infoescola.com/curiosidades/fanzine/

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Artigo sobre as Fanzines, o que são e como são criadas, objetivos dessas revistas, quem produz, entre outras informações.

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Quem nunca juntou algumas folhas de papel, grampeou ou amarrou com alguma linha colorida e saiu colando fotos e textos e desenhando coisas não sabe o que está perdendo. O Fanzine, uma abreviação de "Fanatic Magazine", ou mais precisamente fan-magazine (em uma tradução livre, revista feita por fãs) é uma publicação feita pelo próprio autor do material escrito/fotografado/desenhado. É a chance de muitos jovens autores de vender suas poesias, por exemplo, sem passar por todo o processo de enviar originais para editoras, esperar resposta etc. É um momento de inventar, testar conteúdos, oferecer pequenas amostras de seus trabalhos e ainda ganhar uma graninha, se você quiser vendê-los.

Os primeiros fanzines apareceram no final da década de 1920, e eram de ficção científica. O termo "fanzine", no entanto, só surge em 1940. Ainda nesse período, os fanzines eram distribuídos pelos correios, como uma troca de correspondências, para os fãs de ficção científica. Com o passar dos anos, os zines (como passaram a ser chamados) ganharam muitas outras formas e conteúdos. Na década de 1960, os zines passaram a publicar quadrinhos e também foram plataforma para a contracultura e o movimento punk.

Dá para usar todo tipo de recursos nos zines: colagens, escrita à mão, xérox e o que mais vier à mente

Atualmente, já dá pra notar um boom de publicações independentes, com pequenas e médias editoras espalhadas por todos os continentes, que imprimem conteúdos próprios e de outros autores - e nunca esquecem dos zines. As publicações vão desde as colagens mais simples até zines complexos e muito bem elaborados, que se tornam preciosidades na estante.

Zine feito inteiro com carimbos, da editora Edições De Zaster, sediada no Rio de Janeiro. (http://dezaster.com/)

Zine da De Zaster

Zines da autora de Garota Siririca, a LoveLove6

Fazendo um zine - Risografia, colagem, ilustração, texto a mão, material diagramado no computador, impressão offset, xerox, serigrafia, letterpress, encadernação a mão, encadernação a grampo...são muitas as técnicas que podem ser utilizadas na hora de fazer um zine, mas a principal pergunta a se fazer é: qual a ideia a se passar? O que você está querendo com seu zine?

Se você já tiver essa pergunta respondida, ótimo, é hora de descobrir que cara seu zine vai ter. O youtube é uma excelente plataforma para encontrar vídeos sobre encadernação e diversas maneiras de fazer um zine. Um dos vídeos nos já publicamos aqui, numa postagem sobre canais legais do youtube, ensina a fazer um pequeno zine com dobraduras:

Na internet também é possível achar cursos, vídeos sobre como criar HQs para suas zines e outros assuntos que podem ajudar na criação de sua própria publicação. O mais legal é também encontrar zines para ler online - tanto para se inspirar quanto para acompanhar o trabalho de diversos artistas. Quer conhecer alguns? Fizemos uma lista!

Zines brasileiros de artistas mulheres -

Coletivo Girl Gang - Support Your Sisters

Drunken Butterfly - Retórica do Corpo em Festa (+18)

Laura Athayde - O Mundo é um Jogo e eu só tenho mais uma vida

Coletivo Zinas- Aborto

Beatriz Lopes - Mofo

LoveLove6 - A Ética do Tesão na Pós Modernidade ( Volume 1, Volume 2)

Coletivo Caleidoscópio - Zine Caledoscópio

Desalineada - Liturgia das Bruxas

Suzana Maria - Indigo

Sirlanney - SDDS

Maiara Henrique - Gata Pirata

Ely Sena - Saideira e Maiz Zuma

Sahr - Querido

Luiza Abend - Fair City

Bruna Morgan - Zine Alma

Juliana Akemi - Ossos
Shotgun Seamstress Feminizine Our Sea of Islands
Mais zines no Brasil e no mundo:

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Quem nunca juntou algumas folhas de papel, grampeou ou amarrou com alguma linha colorida e saiu colando fotos e textos e desenhando coisas não sabe o que está perdendo. O Fanzine, uma abreviação de "Fanatic Magazine", ou mais precisamente fan-magazine (em uma tradução livre, revista feita por fãs) é uma publicação feita pelo próprio autor do material escrito/fotografado/desenhado.

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Edu Games
Geniol

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Even before the COVID-19 pandemic began we were thinking about trying to write a thing about zines that talk abut using herbs and DIY abortion. Then came the pandemic, and in the U.S., the confirmation of another anti-abortion supreme court justice, who, it's speculated, will work to overturn the 1973 Roe vs. Wade decision that legalized pregnancy termination.

We kind of hate that we have to write this at all, but the ongoing attacks on reproductive freedom and healthcare across the world make this necessary. Everybody should have access to the healthcare they need, full stop. This means being able to make informed choices about reproductive options including different methods of contraception, pregnancy and childbirth, and the ability to end a pregnancy as desired.

A couple of notes:

1. The following links were not digitized by us at QZAP. Abortion and reproductive healthcare are absolutely queer and trans issues, but these zines are maybe outside of our collection policy scope. As such, they are not necessarily up to our standards for digitization, nor can we assure that the original creators permissions were sought before these were put online.

2. These zines are intended to be informational and not "how-to" manuals. If you need to get an abortion or know someone who might, try contacting Planned Parenthood (in the U.S.) or The International Campaign for Women's Right to Safe Abortion (global)

3. A lot of the research for this (short) list came from Jenna Freedman's article Unreproductive: Zines on Herbal Abortion and Menstrual Extraction at Zinelibraries.info, which is focused library holdings, and the Let's Talk About DIY Sexuality Zines handout (PDF) by Emily Bee that was prepared for the 2015 Milwaukee Zine Fest.

The Zines

Hot Pantz: DIY Gynecology / Herbal Remedies By Isabelle Gauthier & Lisa Vinebaum (1994)

Reclaiming Our Ancient Wisdom by Catherine Marie Jeunet

Wives Tales

DIY Doula

Wow! It's been almost a year since we've posted anything to the blog. And what a fucking year. As we're still in the midst of a global pandemic, we're not doing a whole lot these days. At least, not in person. Luckily, online events are a thing right now, and we're super happy to participate in them.

Coming up next week, we're co-sponsoring a film screening at the Northwest Film Forum of It's on Liebigstraße 34. The screening will include 3 films about the (in)famous feminist-queer squat Liebigstraße 34 in Berlin, Germany and how it was forcibly closed last autumn.

The screening is sliding scale from $0-$25 and will include a Q/A with the film-makers. The links above and below have info on how to get tickets.

Incidentially, we were asked to co-sponsor this by our long-time friend Elliat, who made the amazing doc Travel Queeries, which you can see here.

It seems like a lifetime ago, but it has really only been about two months since we partnered with our friends at the Milwaukee Zine Fest and The Milwaukee Rep to produce a zine from their Queer Love Stories event. Just as things were ramping up here with the COVID-19 preperations and prior to the Safer At Home orders, we got copies of the community made QLS zine from our local. That was three weeks ago (it's 13 April, 2020, a Monday, as we post this.) Since the production of this was funded through the partnership and our initial intent was to make them available during the Milwaukee Zine Fest, we thought we'd do that minus the fest.

If you would like a copy, all you have to do is send us 3 First Class U.S. stamps.
Queer Love Stories c/o QZAP
2935 N. Fratney Street
Milwaukee, WI 53212
Please be sure to include your name and address.

If you are not in the U.S. and would like a copy, please contact us.

Please take care of each other.

Love,

QZAP

He was an early editor of Gay Comix, and his breakout work, Stuck Rubber Baby, explored queerness and racial justice through a Southern lens. Perhaps his most well known character, Wendel, represented a bit of Howard himself, with optimistic, simple charms. We honor the legacy of gay comics artist Howard Cruse, who died on November 26, 2019, and share our condolences with his husband, daughter, and chosen family.

Howard's work began during a time of tremendous social change in the US in the early 1970s, when he utilized the energy of the underground comix movement to create gay characters and stories with love, laughter, and poignant drama.

Most importantly, Howard worked at a time where he established the frameworks of gay comic storytelling himself, truly a pioneer where few visual artists were creating work by, for, and about queer people. To meet him in person, you would encounter a gentle soul, a very kind and thoughtful human being, in some ways an 'anti-celebrity' of sorts. He was candid about how drug use sparked his creativity, and he told human stories in ways that made them universally relatable.

Thank you, Howard, for the path you created, the artists that you inspired to create their own queer work, and for leaving the world with a rich legacy of queer visual stories. Your memory is a blessing.

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Even before the COVID-19 pandemic began we were thinking about trying to write a thing about zines that talk abut using herbs and DIY abortion. Then came the pandemic, and in the U.S., the confirmation of another anti-abortion supreme court justice, who, it's speculated, will work to overturn the 1973 Roe vs.

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Just for you: FREE 60-day trial to the world’s largest digital library.

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Writing Maps: Creative Writing Prompts and Ideas for Stories

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© 2022, Writing Maps: Creative Writing Prompts and Ideas for Stories
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inspiration for writers. in-depth and thought-provoking prompts.

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i made this zine a while ago at the airport instead of making a zine about my feelings. i think it worked out okay.

it looks like the template i'm using (from jeremyoduber) has been updated. click the edges or use the arrow keys to navigate my zine. this was, as always, made in electric zine maker. i hope you enjoy <3

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i made this zine a while ago at the airport instead of making a zine about my feelings. i think it worked out okay. it looks like the template i'm using (from jeremyoduber) has been updated. click the edges or use the arrow keys to navigate my zine.

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a zine about making zines that I made for college!

The Zine of Zines is a Lost Bay Podcast Expansion

let's make a zine together

A non official Zine based on the Gotham Rogues! Includes Scarecrow CD!

short destiel zine all done on mspaint.

A preview of and the zine companion of The Lost Bay Podcast Episode #6 with guest Anna Blackwel.

Wayward Sons: A SPN Pre-series Weechester /Teenchester Zine

An accurate simulation of tabling at a zine fair.

Features ~40 pages (~20 spreads) of plant-related autobios from 4 Canadian artists.

Danganronpa Charity fanzine

The Electric Zine Maker (⚡️📝✂️) is a printshop and art tool for making zines.

A zine about zines and how to make them!

The Fashionstuck Zine is a free online zine for artists to show off their favorite character in fashionable outfits!

a mini zine about making zines

a zine about zines... you know what to do

Run in browser

Collaborative zine from the Now Play This! 2019 zine space

My first (completed) zine made in electric zine maker.

a zine about why birkensocks are cool (made with electric zine maker)

short furry zine submission for electric zine jam 2.0

Run in browser

This 8-page intro zine demonstrates what you can do with zines!

experimental zine collection made using @alienmelon's electric zine maker

a zine about making zines

A short art zine made in Electric Zine Maker, about the San Francisco Lovers in expansion.

A How-To Zine about Tabletop RPG Design

​This is the Fourth PICO-8 ZINE! SPECIAL ROGUELIKE

A reformatted version of Knave that you can print, fold, and staple into a beautiful zine.

Adventures for Dungeon World and other fantasy TTRPGs. 11 zines in both screen and printable booklet form.

An Affinity Publisher and InDesign template for creating a classic mini zine with 1 sheet of paper

Easily display your zines on itch.io

Run in browser

A collection of zines on the author and their theory of games

Short puzzle zine that you can either print or enjoy from your screen

A ttrpg Zine about Pigeons. Wait, really? Yes! Get ready for their corny adventures in Dirty Town

Templates for creating one-page zines

A zine of indie TTRPG games, articles and supplements

A system-neutral ttrpg zine of soulsborne-inspired wandering merchants

An MS Word template for creating an A5 zine for Troika! content.

A game of Desperados robbing the train to Hell. A complete ttrpg in zine form.

a collection of templates for zine making

A zine made by cuties, for cuties ♥ Art, Guides + more!~

A Mausritter Zine containing a new setting and five new adventures

altgames and digital garbage zine

An OSR zine with an assortment of extra rules for Electric Bastionland and other OSR games

A retro anime style visual novel character dev zine

A zine dedicated to all the amazing NPCs of Genshin Impact! Volume 1.

Create a little zine with live preview

A zine of indie TTRPG games, articles and supplements

The second issue of Realms, the Multiversal Zine- concerning primarily the use and users of Dream-Magic

Wander the big city, visit the zoo, and travel to space in this zine of illustrated ​I SPY activities!​

it's a zine and it's about dragon type pokemon!

Learn how to plan, produce, promote and project manage a zine from start to finish!

A Homestuck Zine composed with 3D renders. Made for the Homestuck ZineJam

A (solo/Roll and Write) RPG that deals with non-violent conflict resolution in an eco-fantasy world.

Zine made for the Electric Zine Jam

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a zine about making zines that I made for college!

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Feira Kraft (Unesp)

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Portal da Universidade Estadual Paulista -
Rua Quirino de Andrade, 215 - Centro - São Paulo/SP - CEP 01049-010
Pabx: +55 11 5627-0233

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Universidade Estadual Paulista Júlio de Mesquita Filho

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As we reach the end of International Zine Month it seems a good moment to look back and take stock of the situation of zines and fanzines in the Library now. I’m impressed by the current vibrancy of the ‘zine scene’ and the level of interest in zines, both as…

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To prepare for the Wilson Special Collection Library's upcoming Hallowzine! event, I wanted to learn more about the history of zines to gain a better understanding of the historical and social contexts they evolved from. When I started my research, it seemed that without fail any website or article I found about zines would always begin by trying to answer one question: "What is a zine?" The answer is broad, and the content, style, and audience of zines vary widely, but there are several shared characteristics that make a zine:

1. Zines are self-published or published by a small, independent publisher. Self-publishing allows marginalized voices to express themselves beyond the constraints of mainstream media, and also lets authors take control of the process of publishing. Zines also present an alternative to the hierarchical and commodified world of mainstream media.

2. Zines are non-commercial, and are printed in small numbers, circulating only through specific networks. They are underground publications that tend to have niche audiences.

3. Zines provide a vehicle for ideas, expression, and art. They build connections between people and within groups, and provide modes of communication in addition to information dissemination.

4. There are exceptions to every rule, and though many have shared characteristics, there is no formal definition of a zine.

Zines were first created in the science fiction fandoms of the 1930s, taking their name from fanzine, which is short for "fan magazine." Long before the advent of the Internet, zines allowed fans to create networks, share ideas and analyses, and collaborate on writing and artwork.

The counterculture movements associated with the Beat generation of the 1950s and 1960s saw a growth of the underground press, which played an important role in connecting the people across the US. Although the underground press often involved significantly more people and resources in the production of materials, it provided a function that became a key part of zine culture in the 1980s and beyond: giving people a voice outside the scope of the mainstream media.

Art and literary magazines of the 1960s and 1970s were based on a similar need to circumvent the commercial art world, and were printed cheaply and spread through small, niche networks. Many of them combined art, politics, culture, and activism into a single eclectic publication, redefining what a magazine could be, and influencing the rise of activist artists' magazines that shaped the punk and feminist scenes later on.

The punk music scene of the 1980s expanded upon the self-published format by creating a wide of array of constantly evolving zines dedicated to the musical genre that were both fanzines and political tracts. Punk zines were more than just magazines-they represented the aesthetic and ideals of an entire subculture, a condensed version of this cultural revolt against authoritarianism.

Similarly subversive, the riot grrrl movement grew out of the punk subculture and developed a zine culture of its own, focusing on feminism, sex, and chaos. The Sallie Bingham collection at Duke University's Rubenstein Library has a large selection of zines by women and girls created during this period. The collection's website also provides a short description of the role of zines within the riot grrrl movement:

"In the 1990s, with the combination of the riot grrrl movement's reaction against sexism in punk culture, the rise of third wave feminism and girl culture, and an increased interest in the do-it-yourself lifestyle, the women's and grrrls' zine culture began to thrive. Feminist practice emphasizes the sharing of personal experience as a community-building tool, and zines proved to be the perfect medium for reaching out to young women across the country in order to form the 'revolution, girl style.'"

Examples of zines can be found at the Sloane Art Library as well as in the Rare Book Collection. Within the Rare Book Collection, zines comprise part of the Beats Collection, the Mexican Comic Collection, and the Latino Comic Collection. All three collections provide diverse examples of the genre.

The Mexican Comic Collection, a collection of comic books and other graphic material produced in Mexico by Mexican writers and artists, contains examples of self-published artist zines and fanzines from the contemporary comic and graphic novel scene.

The Latino Comic Collection, a collection of comics and graphic material produced by contemporary US-born Latino artists and writers, also contains several examples of zines. Many of them are small, hand-drawn booklets, but others are more professionally produced.

Pizza Puffs, a zine made to share one of the artist's favorite recipes.
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If you're interested in learning more about zines, check out the Rubenstein Rare Book & Manuscript Library's Sallie Bingham Collection at Duke University, which contains a robust collection of zines by women and girls. They also provide a resource page that is an excellent starting point for learning more about zines and their history.

And if you're interested in making zines, please join us on October 31st from 1:00 pm - 4:00pm for Hallowzine!, a zine-making event at Wilson Library where you can learn more about zines and apply your DIY skills to making one of your own. A variety of zines from the Sloane Art Library's collection will also be on display in Wilson Library during the event, so please stop by!

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To prepare for the Wilson Special Collection Library's upcoming Hallowzine! event, I wanted to learn more about the history of zines to gain a better understanding of the historical and social contexts they evolved from.

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How zines influenced mainstream design — and how to join the conversation | Webflow Blog

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Learn about zines, their impact on design, and how you can create your own.

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Sesc Digital | Plataforma de acervos, cursos livres e programações inéditas

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Explore shows, espetáculos, palestras, cursos, mostras, debates, exposições e seleções de conteúdos sobre as mais diversas formas de pensamento e expressão

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Sesc Digital | Plataforma de acervos, cursos livres e programações inéditas

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Explore shows, espetáculos, palestras, cursos, mostras, debates, exposições e seleções de conteúdos sobre as mais diversas formas de pensamento e expressão

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Sesc Digital | Plataforma de acervos, cursos livres e programações inéditas

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Explore shows, espetáculos, palestras, cursos, mostras, debates, exposições e seleções de conteúdos sobre as mais diversas formas de pensamento e expressão

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chamada do evento

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Sesc Digital | Plataforma de acervos, cursos livres e programações inéditas

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Explore shows, espetáculos, palestras, cursos, mostras, debates, exposições e seleções de conteúdos sobre as mais diversas formas de pensamento e expressão

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Welcome to our collection of zine related groups, resources, and communities. If you know of a zine group that should be on our list, email

The Book of Zines - A great general go-to guide for anything zine related.

Fanzine(Greek) - A Greek language group about fanzines and DIY culture ( Facebook)

POC Zine Project - POC Zine Project is a zine community dedicated to making zines by people of colour more accessable. ( Facebook)

Stolen Sharpie Revolution - A DIY resource for zines and zine culture since 2002. ( Facebook)

We Make Zines - An online community dedicated to zine makers and readers. Like a Facebook made entirely for zinesters.

Zine Event Organizers - A Facebook group created for zine event organizers to meet, talk, and learn about zine events around the world.

ZINELAB ( Facebook) - An online network for independent publishing.

Zine Librarians - An online community for zine librarians and meet and discuss zine archiving.

ZineWiki - The online zine encyclopedia that anyone can edit!

Zineworks - A Southern Californian zine collective providing workshops and resources for zine making.

Zines (Facebook group) - General zine Facebook page.

Zines A Go Go - A facebook group for members to post anything zine related.

Zinester's Guide to Papercuts - A Facebook community with posts about zines, fests, distros, libraries, and anything zine related.

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Welcome to our collection of zine related groups, resources, and communities. If you know of a zine group that should be on our list, email The Book of Zines - A great general go-to guide for anything zine related.

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If you've never heard of a zine, fret not, you're in the right place. I've made a bunch of zines and contributed to friends' zines and, chances are, you may have made one too even if you didn't know that's what they were called. Whether you're just starting out or are a seasoned creator, zines are a great way to publish your own art, poems, writing, musings, and anything else you want to express-without needing anyone else's permission to do so.

I hope this guide will empower and inspire you to share your ideas with the world in the form of a zine.

Ideating: Coming up with a great zine idea
A very brief history of the zine
Before there was stan twitter there was the fanzine, created originally by sci-fi enthusiasts of the early twentieth century who used the medium as a forum for dialogue, free from corporate editors or publishers. That same do-it-yourself ethos is what drew punks of the late twentieth century to embrace fanzines as a complement to their music, and as a means to challenge mainstream ideologies. In the '80s and '90s, zines became a centerpiece of movements like Queercore and Riot Grrrl. While the latter of these was critiqued for being primarily white and heteronormative, overall, these movements used zines to subvert dominant and patriarchal ideologies through the sharing of lived experiences. At the core of the zine-making ethos are subversion, freedom of thought, and a DIY attitude.

As is the nature of capitalism, corporations increasingly appropriated the practice as time went on; however, even today, zine-making remains a cornerstone for marginalized voices disseminating information and publishing creative work about things they love.
What are zines good for?
Zines tend to be a bricolage of various images, texts, and messages. Here is a list of just a few of the things you can do with the zine format:

Publish sketches, drawings, and mini-comics

Match recipes with whimsical illustrations

Mix words with images and textures

Print lines of poetry

Share a manifesto

...the list goes on

Basically, what you can include in a zine is only limited by your imagination.
What will your zine be about?
If you've never made a zine before, getting started may seem intimidating. But a journey of a thousand miles begins with a single step, and if you're interested in putting your voice out there by publishing your own zine, the first step you must take is deciding on a topic. There is no barrier to entry, so you can really do whatever you want. So, what makes a good zine for YOU to work on? Think about what topics you could you go on and on talking about for hours. Then, let your imagination run wild and see what exciting, novel, or curious ideas you come up with.

To help get your mind moving, here's a cool look at a radical Asian-American zine created by UCLA students in the '60s, and here's a whole archive of other zines. Additionally, ISSUU is a great hub for digital layout inspiration. I also recommend flipping through this issue of F WORD, which is an intersectional feminist zine collective based in Montreal.

As you start conceptualizing your zine, you might want to create a journal for the specific purpose of recording your ideas (for zines, or otherwise). And, if that goes well, maybe you'll want to start keeping a binder that can hold your journal in one of its pockets, as well as magazine clippings, pressed flowers, patterned papers, polaroids, and any other ephemera you might find inspiring.

If digital is more your route, maybe you'll want to organize your inspiration into something like a mood board on Are.na or Pinterest. These practices are a great way to organize your ideas and begin imagining what the stitching-together of your zine will be like.
[Pssst, The Creative Independent also publishes some pretty neat zines, including On making a living as an artist, On dealing with creative anxiety, and On finding your voice.] Working with collaborators
If the topic of your zine is something your friends are passionate about too, you might want to think about getting them involved. Making a zine can be a great collaborative project, since they can be pretty casual and fun; plus, having more people involved brings more creative voices and ideas, and can help you distribute it to a wider audience once it's done. Depending on what you're trying to make, it might make sense to co-create your zine with a friend or two, or perhaps you could put out a call for contributors on social media and open a line there. You can ask for people to submit poems, illustrations, essays, collages, etc.-and you may be surprised to see what people send you.
Licensing
If you do decide to work with other people, just make sure everyone is on the same page on their role as a contributor or collaborator. For example, how will contributors be credited? Will they be compensated? Who will own the rights to the work once it's published in the zine? Communicating openly about these questions before anything goes awry is always a good idea. For more tips on working with other people, see The Creative Independent's guide to joining forces with a creative collaborator.

Along these same lines, as you put your zine together, make sure you only use visuals (or any type of content) that you have the rights to. Google has a tool that makes it really easy to browse through open-licensed content ( learn more here), and the website Creative Commons can also help you find even more neat stuff that's free and clear for you to use.

Creative direction: Giving your zine its own signature feel

Once you have a topic or general plan for your zine, now it's time to clarify and design your little labor of love. How specific can you get in terms of what it will cover, what types of content it will include, and what it will look like? And, overall, what kind of impression do you want to give your reader as they take it all in? Having answers to these questions will help you come up with a creative direction (the way it looks, the way it feels, and what it includes) that can effectively communicate your ideas while also feeling intriguing and cohesive to your readers.

As an example, let's say you want to start a food zine. Maybe you want it to be about a specific cuisine that's a part of your family's history. But now, how will you convey what exactly it is you want to say about that food and its unique story? Think about the ways that different fonts, colors, formats, paper qualities, and visuals will change how your subject is viewed. Will your food zine be the size of a scrapbook, full of old family recipes and family photos? Or, will it be something small you can fit in your apron pocket, with a more minimalistic design? These stylistic choices, no matter how small they may seem, send messages to your reader-so think it all over and imagine a plan that feels exciting and right for your vision.
Designing your zine
Now comes the fun part: getting everything laid out and stylized. Things to think about here are:

What format will your zine take? Do you want it to be able to fit in someone's pocket, or are you looking to make something a bit more substantial? Will it be a folded piece of paper, will it be stapled together, or will you have it printed and bound somewhere? Depending on what you decide, you can download zine templates for software like InDesign and Microsoft Word. Or, if you don't want to go the digital route, you can always assemble your zine using paper and glue/tape, and then scan or photocopy the pages to print more.

How will it look? Spend some time thinking through an overall color palette, font choices, and other design elements that will help the zine strike a particular mood, and feel cohesive. (For more tips on graphic design, I recommend this fun primer).

How will it be edited together? Will it be broken into different sections, or will it all flow together organically? Will it have an introduction, a table of contents, or any other hallmarks of a more traditional publication? Once all your content is written, will you work with an editor to make sure there are no typos?

To give you a sense of how a zine's creative direction can affect the way it looks and feels, below is an example of a non-digital zine spread I made, published by my pals at Deskarga Groupo. It was made using only a single piece of paper ( learn how here). At the time I made it, I was in a funky emotional state, reconciling first-generation pressures to achieve, the desire to be loved and nurtured, struggles with body hair and polycystic ovary syndrome, and feelings of being scrutinized on social media. The emotional nature of the content led me to pursue a low-lift medium (one page seemed doable). And, it felt natural to leave it without color.
Here's another example of a zine spread, by my friend Leo of Deskarga Groupo.
Here's what he said about his zine's topic and format:

" Agua 'Rriba y Agua 'Bajo: When it Rains at the Beach is a collection of 20 photo-collages exploring the cultural landscape of The Dominican Republic accompanied by bilingual word-associative poems. My intention is to reconcile the nostalgia of my formative years living in the island as a child with my anxieties about identity as an adult living in the U.S. The Spanish portion of the title translates directly to 'water above and water below.' An apt metaphor for the suffocating feeling of isolation when stuck between two cultural forces."

Sharing your zine with the world
Printing your zines
If you want to create a bunch of physical copies of your zine, there are several routes you can take. While I've printed my own zines from workplace Xerox machines before, I don't recommend this, for the record (unless you get permission). Instead, you can go to a local printing service, or order copies of your zine from an online printer-both options can be good, so just do your research in advance and make a pros-and-cons list to help yourself decide between the options.

Printing in high volumes can bring the cost per unit down, and so can printing in black and white (versus color). Are you a student? Sometimes universities offer free or discounted rates for student print jobs.

If you don't have the budget to print copies of your zine, you can simply post your zine as a PDF online, and let people print their own copies. Or, you can explore on-demand printing, where people can order copies of your zine online without you needing to lift a finger. Blurb or Lulu could be good options if you decide to go this route.
Distributing your zine
Once you have some physical copies of your zine, now's time to distribute them (if that's what you want to do). Of course, if you have contributors, you'll want to give them a copy (or, better yet, give them a few copies so they can distribute some, too). Depending on how many you print and how widely you want them distributed, there are many routes you can go here. Will you mail them out to your friends, or to people who you'd like to be your friends? Or will you try to sell them in a retail store ( some tips on this here)? Maybe you want to bring them to a zine fair or festival? In the past, I've handed out copies of my zines to friends, but it's also fun to keep some in your bag with the intention of handing a few out to strangers. Zines are a great tool to use in joining or imagining new communities you want to be a part of.

When you distribute your zines, it can be cool to include some goodies-like stickers or a handwritten message-inside the pages of your zine. Here's an example of how this could work from my friends at Nickname Zine.
Promoting your zine
As you consider ways to spread the word about your zine, think about using the resources that are already available to you. Your social media pages and personal website could be a great place to start, especially if you plan to publish a digital version online. If your zine is a collaborative work, get your creative partners to promote it on their social media and websites too.

Getting involved in some of the different zine communities that already exist is another way to put yourself, and your zine, out there. Are there forums or Facebook groups you can join to promote your work ( here's a great start)? Just remember that the key word here is community-usually it's frowned upon to simply show up in a community with the sole aim of promoting your own work.

If you plan on creating multiple issues of your zine, it could be worth starting an Instagram or Twitter account where you can interact with your readers and other zinesters. For more tips on promoting your zine, read The Creative Independent's guide to thoughtful promotion.
Trading zines
Trading zines is a popular practice and easy to do if there's a zine or arts community in your area. If there isn't, meeting people and exchanging information online is just as popular. Maybe you want to barter your zine for a poster or some other creative good. A few months ago, I posted about my zine on Instagram Stories asking if anyone wanted me to send them a copy or trade with them, and sure enough, I received a few DMs.

In summary...

Get specific about your topic and be playful. Always be mindful of how you're sourcing your content, and give credit where it's due. There are free online tools that will make your zine-making process easier if you choose to go the digital route. Have fun, get outside of your comfort zone, make bold choices, and connect with other passionate people. There is no wrong or right way to make a zine, so have fun and don't worry too much about making it perfect. If you need a friend along the way, I'm only a tweet away.

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A guide to ideating, publishing, and distributing a DIY zine, written by Rona Akbari and illustrated by Somnath Bhatt.

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They stood shoulder to shoulder on the main corridor of campus, all 50 or so dressed in black, and that was what stopped Mike Murase in his tracks.

He had never seen so many African-American students on UCLA's mostly-white campus before, not together, not like this. They appeared to be demonstrating, their expressions filled with anger and sorrow. Murase recognized a few of his friends in the crowd and walked over. What were they all doing standing around? They told him they were mourning; Malcolm X had just been assassinated. Murase had never heard the name, but he was impressed that one person's death could move so many. "Who is Malcolm X?" he asked.

It was February of 1965. The Civil Rights Act was seven months old. Congress stood on the verge of sending the first deployment of American troops into Vietnam. Martin Luther King, Jr. was about to lead a march from Selma to Montgomery to protest voting restrictions on African-Americans. Murase was a Japanese-American college freshman studying to become an engineer. That afternoon, seeing those black students in mourning, sparked something in him.

Murase read Malcolm X's autobiography, published a few months after his murder, and put it down feeling like it was one of the best books he ever read. He heard the Black Panthers' Eldridge Cleaver speak at UCLA. He read Carlos Bulosan's 1946 book America Is In the Heart, which depicted the life of Filipino migrant laborers in California. He watched the Vietnam War and its casualties play out on television, unable to understand why the United States was caught up in a war 5,000 miles away. He wondered why he didn't hear more about the men, women, and children in Vietnam who were also dying-men, women, and children who looked a lot like him. As the historic sights and sounds of black liberation, free speech, and anti-war movements swirled around him, Murase began to wonder where, exactly, he fit in.

At UCLA, Murase met other students who were wondering the same. Many of them were, like him, immigrants or descendants of immigrants, mostly from Japan, China, and the Philippines. (The 1965 immigration reform that passed as part of civil rights legislation abolished quotas that previously restricted non-Northern European immigration, but it would still be decades before record numbers of immigrants from Asia, Latin America, and other non-Western countries would arrive.) Many of them grew up in the predominantly working-class Crenshaw district of south central Los Angeles, where thousands of Japanese-American families returning from internment camps settled among African-American neighbors.

Murase and other Asian-American students at UCLA were a minority in a country where being American meant being black or white. Growing up, friends and acquaintances asked them which they were, because they were confused that they didn't look like either. They seldom saw faces like theirs in the textbooks they read in school, not in the Founding Fathers or the westward pioneers, except maybe the one brief mention of Chinese laborers who in the 1800s built the first railroads connecting the San Francisco Bay to the Missouri River. As historian Karen Ishizuka put it her 2016 book, Serve the People: Making Asian America in the Long Sixties, "we too became homesick for a place to call home."

Their families tried hard to blend in, to assimilate and keep their head down, so as to avert the hate of the people who called them "Orientals," "dirty Japs," "ching chong China men," "Chinks," "gooks." Many of the adults Murase knew growing up worked as gardeners, farmers, store clerks, and in the garment factories. They were not yet "Asian-American"-the concept did not exist then. It would be up to Murase's generation to invent it, claim it, assert it, and fight for it over and over in the decade to come.

Three years after Malcolm X's death, in the spring of 1968, Murase, then a college senior, and his friends began to hear about groups of students of color protesting at their campuses in northern California. At San Francisco State University, one group of black, Chinese, Mexican, Filipino, and Native American students known as the Third World Liberation Front, had organized sit-ins across campus, demanding that the university establish new departments devoted to ethnic studies, to hire more non-white faculty, and to accept more non-white students. The student strike lasted nearly five months, becoming the longest in US history, and eventually spreading to Berkeley and New York.

Around this time, newsletters started appearing at college campuses across California, from a new student group at UC Berkeley called the Asian American Political Alliance. "We believe," one of them read, "that the American society is historically racist and one which has systemically employed social discrimination and economic imperialism, both domestically and internationally, exploiting all non-white people in the process of building up their affluent society."

Murase and dozens of other students approached UCLA administrators about forming its own ethnic studies department. The department would hire faculty and offer courses on black, Mexican, Asian, and Native American history and anthropology. The university said no but granted permission for the students to establish informal study centers without faculty or courses and the black and Mexican-American students soon received funding from the university to start their own publications on campus. Murase and his Asian-American friends asked administrators for funding to start one of their own. They argued that the budding Asian-American community needed a forum for creative expression and discussing the social and political issues affecting them. The administrators replied that they would only grant funding if they could have final editorial say.

Murase and four friends-fellow UCLA students Dinora Gil, Laura Ho, Tracy Okida, and Colin Watanabe-decided to start the newspaper on their own. Each student kicked in $100 for ink and printing supplies, and filled four pages with essays and poems and illustrations. They called the paper Gidra -Tracy, a third-generation Japanese American, made up the name one day while thinking about King Ghidorah, a three-headed dragon-caterpillar known as one of Godzilla's archenemies.

The first issue of Gidra was released in April 1969. On the cover, a sketch of five Asian children peering through a barbed-wire fence ran alongside an essay introducing the Third World Liberation Front, an organization focused on "the eradication of institutional racism," and an article criticizing the sudden firing of Thomas Noguchi, the Japanese-American Los Angeles county coroner known for performing high-profile autopsies, including that of Marilyn Monroe and Robert F. Kennedy. LA county supervisors had accused Noguchi of using excessive amounts of drugs and needing psychiatric care, among nearly 60 other charges that United Press International "some of the most bizarre ever lodged against a public official." Other Japanese-American newspapers, Gidra argued, had "chosen to ignore the racial issue" in Noguchi's case. "But how can one ignore it when it appears to permeate the entire system?" A county commission later reinstated Noguchi after finding insufficient evidence to support the supervisors' charges.

Another article denounced "yellow prostitution" and the subjugation of Asian women in particular: "It is not enough that we 'kow tow' to the Yellow male ego, but we must do this by aping the Madison Avenue and Hollywood version of White femininity." An essay titled "Yellow Power!" opened with a 1857 quote by the abolitionist Frederick Douglass-"Power concedes nothing without a demand"-before launching into the story of a 500-person mob that hanged at least 17 Chinese men, women, and children in Los Angeles in 1871, an incident that some describe as the largest mass lynching in American history. "Asian American history is filled with innumerable racist incidents," the essay, written by Larry Kubota, said. "Looking back into the past, it is incredible that we have taken so long to confront this problem of racism. We are relegated to second-class citizenship, and adding insult upon injury, we are told to be thankful for our blessings...Today, however, is the dawn of a new era."

Murase and the Gidra staff handed out the first copies to students on UCLA's campus and at local community meetings, marches, and speeches. Friends handed out more copies at nearby campuses, including Cal State Long Beach, USC, and Occidental. Within months, letters from readers came pouring in to the staff. "I feel I want to be a part of the Gidra," one woman wrote. "After I have slowly realized that life is and will be different if you are not Caucasian middle-class type, I began to see frustration because no one else admits or acknowledges it. All of the oriental people I know seem intent on carrying out their life pretending that daily inequalities do not exist...How can you discover your identity if no one seems to accept reality. Are discussions possible? Are answers possible?"

Gidra repulsed some people, like Samuel Ichiye Hayakawa, the San Francisco State University president who famously climbed on top of a sound truck during one of the 1968 student rallies for Ethnic Studies and tried to unplug the speakers. A few weeks after the first issue of Gidra circulated, Hayakawa reportedly held a copy in his hand while speaking to 600 people at Disneyland during an annual meeting of the Japanese American Citizens League. The JACL was an influential and controversial advocacy group that had helped Japanese-American veterans fight for citizenship after World War I, but later sided with the FBI during World War II internment. According to an article about his speech, Hayakawa called Gidra the work of a sansei (third-generation Japanese American) "child," adding that it was "hard to imagine more errant nonsense." (He was also quoted as saying that young people fighting racism were "fighting semantic ghost fictions made by the process of abstraction," and that "the Sansei should not be imitating the Negro.")

A July 1969 letter from a "happy White mother" to Gidra read, "Your all a bunch of hand outs you want your cake and eat it to, without the white man youd all be one hell of a mess...You can't live without us and you no it, thats why you're all angry you all feel inferior shame on you that your so little that you have to be so full of pity for yourself I should not want to be anything but white because Im proud of it. Sorry your not proud of your nationality."

Provocative as it was, Gidra gave young Asian-Americans "a sense of belonging at a time when we really had not seen ourselves in the media, in television, or magazines," Ishizuka, the historian, told me. "So many of us didn't know there were others who had the same hopes and fears. It was a lifeline for me." Gidra became a DIY textbook, a capsule of what Asian-Americans were seeing and thinking at the time. Activists flew in from New York and other cities to pick up copies of Gidra and other centerpieces of the budding Asian-American movement so that they could use them as teaching materials back home. "I had started an Asian-American studies course at Hunter College and our friends were pushing for a department at City College, but we had no curriculum," artist and activist Fay Chiang said in an interview with Ishizuka. "So I was just collecting all the mimeograph sheets and ditto sheets I could get my hands on."

By the paper's ninth issue, Murase and the rest of the Gidra team were printing between 7,000 to 8,000 copies a month. ( Gidra averaged a monthly circulation of 3,000.) Its pages burst with stories, poems, cartoons, photos, and illustrations, alongside reports on local activism and historical accounts of racism and abuse in the Asian immigrant experience. The minds of twentysomething Asian-Americans splashed across its pages, Gidra became "a Petri dish for growing oppositional consciousness," Ishizuka said, capturing "in real time the passions and issues that were affecting people on the ground as it was happening."

What started with a handful of staff quickly multiplied. In the next five years, more than 200 people would volunteer to produce the paper from month to month, among them students, community organizers, Vietnam veterans, and people who served time in juvenile detention or state prison. One of Gidra's closest collaborators was Yellow Brotherhood, a Los Angeles-based organization dedicated to helping Asian-American youth through issues like gang participation, drug abuse, depression, and suicide. Most of the magazine staff were born and raised in Los Angeles, but before long, volunteers arrived from as far as New York and Toronto. "The beauty of us coming together was that we came from such different backgrounds and personalities," Murase tells me, "but somehow because we had Gidra in common we were friends."

Murase remembers the buzz of late nights and sleep deprivation. "People would drop by and hangout for hours," he says. "A lot of times we stayed up until three, four, five in the morning, doing work, but also talking and joking around with each other." Gidra's office, which, after the first few issues moved off campus and into a strip mall in Crenshaw, smelled of burritos and Chinese take out. Motown played on the speakers. Chewed-up sunflower seeds scattered over newspapers on the desks and floor. Sometimes there were beach parties or bowling nights, but mostly Gidra staffers were learning, in teach-ins and study circles and protests, about the history of their elders, about capitalism and Marxism and Maoism, about the Soviet Union and the United States's proxy wars, and about the greed for resources that drew them into such wars. "All of us were learning so much, so fast," Murase says. "There was a sense of urgency, and our commitment was a 24-7 commitment. It wasn't like the rest of the time life goes on."

As a child, Murase lived in an idyllic town in the Okayama prefecture, about 110 miles northeast of Hiroshima. He was born in 1947, after the Second World War had ended, but throughout his childhood he was reminded of it often. Murase's parents sometimes took him and his older sister on train rides to see Hiroshima-what remained, what was destroyed, and the peace monuments erected in its place. In elementary school, Murase heard his teachers lecture about why war was bad and why peace was good.

Murase's father was a kibei nisei-he was born in Arizona to Japanese immigrants but moved back to Japan when he was still a child. Murase imagined that his father had a good life in America, because he often talked of going back. Before Murase and his family left Japan for Los Angeles in 1956, his mother bought him two children's books about America. One told the story of Abraham Lincoln; the other, a book about all-American families, depicted fathers mowing lawns and mothers at kitchen sinks. Everyone in the images was white. When Murase arrived on the shores of San Francisco, the nine-year-old noticed that all the dock workers were black, and all the customs officers were white. Maybe he had misread the story of Abraham Lincoln, he thought. Maybe there were still slaves here.

They were fleeting curiosities then, but as Murase grew older and the war ramped up in Vietnam, these early memories formed the basis of his opposition against the war. By the time Gidra started in 1969, roughly one out of every two Americans knew someone who had been killed or wounded in Vietnam. Murase and hundreds of other Asian-Americans created their own presence at anti-war marches, holding up signs that read "Makibaka!" ("struggle" in Tagalog), "Stop killing our Asian sisters!" and "Remember Manzanar!" referring to one of the 10 internment camps where Japanese Americans were incarcerated during World War II. In Gidra, writer Charles W. Cheng wrote, "Let us not forget that what occurred in Hiroshima is now occurring in Vietnam, Laos, and Cambodia...We are gooks in the eyes of White Americans."

For Murase and other young Asian-Americans, Vietnam became ammunition for their war against racism. Gidra reflected their anti-war sentiments, including one cover illustration where an Asian-American soldier stands between his white sergeant and a Vietnamese woman holding a rifle and is ordered to, "Kill that gook, you gook!" They reported on Asian-American soldiers killed or wounded in the line of fire by white American soldiers who mistook them for the enemy. "A former member of the 29th Brigade who had been in Vietnam less than a month was killed there May 11," one Gidra story . "He was 20-year-old Specialist Fourth Clifford Taira. The Army said he was killed when hit by gunfire aimed at the yellow-skinned enemy below from an American helicopter...He was the 192nd Hawaii soldier to die in the war."

Evelyn Yoshimura, one of Gidra's longstanding editors, remembers her Asian-American military friends coming back and recounting stories from the war. Drill sergeants made them stand before fellow recruits while explaining this is "what a gook looks like." As Vietnam veteran Mike Nakayama recalled in one Gidra essay, "Name-calling by drill instructors presented one form of racism, used to single out Third World brothers from the rest of the company...The Asian brothers found themselves being called gook, charlie chan, slant-eyes, etc., which continued after training. " After getting wounded during combat, Nakayama, who had a Bronze Star, testified that he watched medics ignore him while treating others. When he finally got their attention, a medic said, "Oh, you can speak English. We thought you were a gook."

"We had come of age during the Vietnam War," Ishizuka wrote in her book about the emergence of an Asian-American identity in the 1960s. "An unholy alliance of racism and imperialism, like nothing before or since, the war united Asians in America who, regardless of our various ethnicities, looked more enemy than American."

Because the war had such a unique and galvanizing effect on Asian-Americans, Ishizuka wrote, its end in 1975 "had a correspondingly deflating impact" on their fight against US racism at home and abroad. Gradually, the anti-Vietnam War marches came to an end. Much of the solidarity that once brought disparate groups together during the war started to give way to internal power struggles and disagreements that included ostracizing LGBT activists.

The 200-plus volunteers who cycled through Gidra's office over its five-year run experienced their own growing pains at the same time they were trying to keep up with demanding monthly production cycles. "We struggled through a lot of things in our collective-sexism, chauvinism, how we talked to each other," Murase told me. Gidra prided itself on running on a non-hierarchy where each member theoretically had equal authority, but the flat structure also meant meetings ran long and disagreements festered without resolution. And many of those who came to Gidra eventually left, moving to another city or taking a full-time job in pursuit of their next chapter. "We shared in adversity and in joy," Murase wrote in his final essay in Gidra. "That's what kept the group together for so long."

Murase graduated from UCLA a year into Gidra's run-he continued enrolling in classes to avoid the draft until he had so many units that the university asked him to leave. He continued working on Gidra while going to film school at UCLA and then law school at USC, living at home and working odd jobs in between-as a gardener, at gas stations, and in the library stacks. Starting in 1969, he began teaching some of the first classes on Asian-American studies at UCLA and later at Cal State Long Beach.

In Gidra's 60th and final issue, published in April 1974, Murase reflected back on the evolution of the paper and the people behind it: "We have learned slowly, and sometimes painfully, to do things that had been totally alien to us before, to become aware of ourselves and others, and to look at the conditions around us in ways very different from the traditional view. We were called upon to do things that made us feel uncomfortable at first: participating in marches and demonstrations, speaking before large audiences, appearing on radio and television programs, selling the paper, and sharing with each other some of our deepest feelings and most private thoughts...what needs remembering now is the richness and vitality of this total experience called Gidra, which is much more than just a newspaper."

Over the decades, Gidra largely faded into obscurity, as did the sense of belonging it gave to Murase and his peers. Inevitably, new generations of Asian-Americans grew up and new waves of Asian immigrants arrived. Today Asian-Americans make up the fastest-growing group of the country's population, more diverse than ever in the countries they descend from and the languages they speak.

And yet Asian-Americans remain among the country's most underrepresented and misunderstood: they are still mocked on national television; directors still cast white faces in films portraying their stories; the "model minority" myth still haunts and hurts them. As sociologist Adia Harvey Wingfield , research shows that the stereotype can deter Asian-American high school students from seeking help when they're struggling in school, pressure Asian-Americans to downplay incidents of racial harassment, and reinforce the misperception that Asian-Americans are too weak or passive to work in high-ranking jobs. So many Asian-Americans today still feel what Murase and his peers felt when they were young and searching: like foreigners in their homeland.

"Asians are the loneliest Americans," writer Jay Caspian Kang wrote last summer in about a death and the search for identity in an Asian-American college fraternity. There is no solidarity, in Kang's opinion, just a "cartoonish and blurry" sense of racial belonging. "Asian pride is a laughable concept to most Americans... A common past can be accessed only through dusty, dug-up things: the murder of Vincent Chin, Korematsu v. United States, the Bataan Death March and the illusion that we are going through all these things together."

Kang's story struck a chord. "Am fucking eviscerated," NPR journalist Kat Chow . Many Asian-Americans shared similar reactions, while others found Kang's characterization of modern Asian-American identity to be unfair. "I disagree," Jenn Fang, who runs the blog Reappropriate.co, . "For nearly 150 years, the strength and meaningfulness of Asian American identity has served as a central theme of our activism...Of course, I think that many young Asian Americans aren't aware of our long and storied Movement history, and so they feel disconnected. But that is an issue of lack of access to resources to teach our political history, not a sign that As Am identity innately lacks meaning." Fang added: "Asian American identity and history is much more than the trope-ish E Asian 1980's immigrant narrative presented. That is the story of the young men in the essay, but that is not the story of all or even most Asian Americans. We are a diverse bunch."

Murase is now in his 70s, and he still lives and works in Los Angeles, where he oversees community programs at the Little Tokyo Service Center-a local organization devoted to helping elderly and low-income immigrant families. He and others who made up Gidra 's core staff still get together at dinners and demonstrations. They most recently joined hundreds of thousands of others in last month's Women's March in Los Angeles. "We're like 50 years older now," he says. "The conditions are very different for young people to get involved in the same way we did." Young Americans today-Asian or otherwise-face tougher competition in college admissions and job placement than his generation did, for example. And while they have tools that didn't exist in his day-cell phones, email, social media-Murase senses that young activists today also face a more conservative political climate. "You're bucking a much stronger opposition."

Still, Murase remains optimistic. He sees glimpses in pop culture of the irreverence and raw emotions that once defined Gidra. They're in Twitter hashtags like #NotYourAsianSidekick and #Asians4BlackLives, in blogs like Angry Asian Man, in magazines like , , and . Between 1999 and 2001, there was even a short-lived attempt to revive Gidra by UCLA students, until they, too, moved on. Murase has noticed a renewed interest in Gidra in recent years, from journalists and museum curators and professors across the country who have asked him to speak about the paper and the era that shaped it. "Each generation steps up in their own way," Murase says. "But they also have to figure out, what is their path?"

For Asian-Americans past and present, the path often begins with what Ishizuka calls "historical recovery." Without an understanding of what came before us, she writes, "every generation of activists thinks it is the first. We did." Even as they fought to forge their identity in the '60s, she adds, "we did not realize that early Asians in America had already put our thoughts into words." Ishizuka came to understand this when she learned of the Chinese immigrants who were held at Angel Island between the 1910s and 1940s upon arriving in the San Francisco Bay-at least three decades before she would march in the streets against the Vietnam War and pick up her first copy of Gidra. "Confined there for months, our soon-to-be grandparents and great-grandparents carved and ink-brushed more than 135 poems on the walls that bear witness to their plight." One of them read:

Dare to conquer America and avenge past wrongs.
This article was originally published as part of our Off Topic newsletter, where you get an original story delivered to your inbox each and every week.

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The Forgotten Zine of 1960s Asian-American Radicals

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He had never seen so many African-American students on UCLA's mostly-white campus before, not together, not like this. They appeared to be demonstrating, their expressions filled with anger and sorrow. Murase recognized a few of his friends in the crowd and walked over. What were they all doing standing around?

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DOSSIÊ: FEMINISMOS JOVENS

"Manifeste-se, faça um zine!": uma etnografia sobre "zines de papel" feministas produzidos por minas do rock (São Paulo, 1996-2007)

"Show yourself up, make a zine!": an ethnography about feminist "paperzines" created by "minas do rock" (São Paulo, 1996-2007)

Michelle Alcântara Camargo

Mestre em Antropologia Social pela UNICAMP, Ingressou no movimento feminista a partir da cena riot grrrl, foi zineira, sócia-fundadora da ONG Feminista Espaço Lente Lilás (Maringa-PR, 2004) e participou do Coletivo Feminista da Unicamp, Atualmente é colaboradora da UIPA-Uniao Internacional de Proteção Animal, E-mail: michelleacamargo@yahoo.com.br

RESUMO

Neste artigo, resultado de pesquisa realizada sobre a cena das minas do rock entre 2007 e 2010, procuro apresentar uma etnografia sobre as publicações de papel feitas por mulheres envolvidas na cena, conhecidas como fanzines ou zines. Com a análise de tais publicações apresento uma reflexão sobre os modos de expressão de jovens mulheres e suas práticas feministas e como eles encontram uma linguagem particular nos zines. Ao mesmo tempo, espero contribuir para a produção de conhecimento acerca do modo como discursos e práticas feministas são reapropriados por jovens mulheres a partir dos contextos em que se inserem. O conjunto de zines analisados compreende o período de 1996 a 2007 e foram produzidos por coletivos e mulheres posicionadas de maneira bastante diversa na cena, dando conta também da diversidade que marca esse movimento político e cultural relacionado à juventude.

Palavras-chave: Gênero, Geração, Feminismo, Juventude, Fanzine.

ABSTRACT

In this article, resulting from research about "cena das minas do rock" between 2007 and 2010, my intention was to present an ethnography about the paper publications by women involved in the "cena", known as fanzines or zines. Analyzing such publications I present a reflection on young women's expression manners and feminist practices, and how they find a particular language at zines. Meantime, I hope to contribute to the production of knowledge concerned with the way speeches and feminist practices are re-appropriated by young women from the contexts where they were set. The bunch of analyzed zines comprehends 1996 to 2007 period and were produced by groups and women placed at quite diverse sites at the "cena", also giving accounts of the diversity that marks this political and cultural movement related to youth.

Key Words: Gender, Generation, Feminism, Youth, Fanzine.

Este artigo trata de um recorte do feminismo no Brasil num momento específico – aquele bastante recente em que emergem atrizes sociais demandando o reconhecimento de identificações e das demandas de jovens feministas. O recorte escolhido privilegia, no entanto, outras jovens, aquelas que se afirmam feministas a partir de uma cena cultural juvenil: as minas do rock.

A cena do rock de mina surge enquanto oposição ao sexismo presente no rock e no punk, influenciada pelo movimento riot grrrl norte-americano, a partir de práticas como a elaboração de fanzines e letras de música feministas e, ainda que se construa em comunicação com outros movimentos culturais e políticos como o punk e o feminista, carrega traços singulares.

Neste artigo, procuro colaborar para a produção de conhecimento sobre práticas feministas e jovens mulheres no Brasil contemporâneo. O faço por meio da análise de materiais impressos – os "fanzines" – produzidos e veiculados na cena das minas do rock na grande São Paulo entre os anos de 1996 e 2007. Embora os zines de papel permitam acesso também a transformações verificadas no interior da cena – que tem registrado nos últimos anos um aumento significativo de atividades no Nordeste, em sentido inverso ao que acontece no Sudeste do país, onde se verifica uma diminuição e maior espaçamento entre atividades, tais aspectos extrapolam o escopo deste trabalho, menos dedicado à trajetória de uma cena cultural do que à compreensão de como esta cena produz articulações com o feminismo. Desse modo, procuro compreender aqui o feminismo construído a partir da cena das minas do rock, focalizando especialmente: o modo como se apresenta/dá-se a ver por meio dos fanzines e como se relaciona com outras práticas e discursos feministas contemporâneos.

Riot grrrls, fanzines e grrrlzines: uma aproximação

O riot veio do punk e o punk é muito musical e muito fácil de executar e por isso que tá enraizado no riot e a música ela é muito... eu acho que a experiência que ela traz, ela cai como uma luva pro riot, porque é uma coisa que você sobe no palco e fala no microfone, é uma coisa direta e com participação das pessoas e é uma coisa que transpira, é uma possibilidade de qualquer pessoa pegar no instrumento e fazer. Fora que também tem a questão do empoderamento: como é uma coisa tipicamente masculina, quando as minas fazem isso, elas tocam guitarra, tal, isso traz uma sensação de liberdade para as meninas que normalmente são criadas para ter baixa auto-estima. Então, eu acho que tem a ver com liberdade e com a transgressão, a quebra de valores e tem a ver com a direção da mensagem, é muito rápida, assim. Tem a ver com diversão, porque música é bom, é pra dançar e eu acho que tem a ver com essa coisa da mensagem política num veículo emocional (Entrevista Emilia, 2008).

O feminismo proposto pela minas do rock combina música e militância feminista, atrelando-se principalmente ao rock como linguagem para discussão do feminismo e para o fortalecimento de jovens mulheres. Esse tipo de feminismo se torna acessível a jovens mulheres que se sentem excluídas das discussões feministas institucionais, oferecendo-lhes possibilidade de reflexão sobre seus próprios valores e preocupações. Produzido na interface com a construção de uma cena cultural e de seu estilo, esse feminismo pode ser encontrado também nos grrrlzines, os fanzines feitos por garotas e para garotas. Marcados pela ideia de elaboração e difusão de uma mensagem política por meio de compartilhamento de experiências pessoais, neles podemos encontrar: a criação de agência em situações de violência sexual, física e simbólica do cotidiano; a recusa a heteronormatividade, principalmente na cena dyke; a busca de um espaço onde possam falar de suas experiências e a rejeição a padrões estéticos dominantes.

Segundo Magalhães (1993), o termo fanzine, numa forma contraída das palavras inglesas fanatic e magazine, foi cunhado por Russ Chauvenet em 1941. Esse tipo de publicação impressa tem suas primeiras aparições na década de 1930, nos Estados Unidos, inicialmente como um tipo de publicação de histórias de ficção científica, para posteriormente ampliar seus temas em histórias de quadrinhos, terror, literatura policial, bem como música e militância política. Não há definições muito precisas sobre o que venha a ser um fanzine, que é, muitas vezes, confundido com revista "alternativa", tanto por sua forma de produção quanto pelos modos como é distribuído (pessoalmente ou por via postal) e por sua apresentação (Magalhães, 1993).

A escrita intimidadora dos punkzines, com suas palavras secas, seus erros de digitação e ortografia (Hebdige, 2004), constitui uma escrita estridente, encontrada também nos fanzines produzidos pelas minas do rock em São Paulo. Ao mesmo tempo, estes últimos também apresentam características semelhantes aos grrrlzines norte-americanos, referência para a cena de minas do rock no Brasil.

Os grrrlzines, fanzines de papel produzidos por riot grrrls, se constituem como uma categoria específica de punkzine. Surgiram na década de 1990 dentro do movimento punk feminista e se constituíram num tipo de produção escrita por/para e sobre mulheres jovens interessadas no underground, bem como num feminismo alternativo aliado a políticas punks. Segundo Harris (2003), os grrrlzines constituíram uma rede de comunicação entre jovens mulheres, visando a discussão sobre o significado da adolescência para as garotas na "modernidade tardia", bem como sobre o lugar das mulheres nas sociedades industrializadas, iniciando um tipo de debate na esfera pública da qual as adolescentes estiveram excluídas.

Segundo Chidgey (2007), os fanzines produzidos por riot grrrls se tornaram a primeira geração de mídia feminista produzida em seus próprios termos, pois guiadas completamente pelo do it yourself as garotas se permitiram escrever, desenhar, imprimir e distribuir seu próprio trabalho, o que fez dos fanzines um meio crucial de expressão e ativismo da "terceira onda" do feminismo. Segundo Phonix, "os zines [ grrrlzines] criaram e documentaram uma cultura: raiva de garotas, resistência e amor" (Phonix,1994 apud Chidgey, 2007 – tradução livre).

No contexto brasileiro, os zines produzidos por/para e sobre garotas estiveram em sua maioria associados a integrantes da cena das minas do rock. Esta cena tem seu início em São Paulo, no ano de 1995, com o surgimento da banda Dominatrix. Para as integrantes mais antigas da cena, os zines têm o sentido de expressão de ideias, de articular e movimentar a cena e de documentar a produção cultural: "O fanzine movimenta uma cena, né? E você precisa movimentar, para que ela exista" (Emília – entrevista, 2008). Outra entrevistada remete ao sentido de livre expressão de ideias e situa os fanzines como uma ferramenta importante num momento em que ainda não havia internet: "É você mostrar suas ideias através do papel, por que sei lá.... na época não tinha internet" (Camila - entrevista, 2008).

Entre as seis garotas entrevistadas para esta pesquisa, quatro produziram fanzines, sendo que duas o fizeram ainda nos anos 1990 e outras duas, na primeira metade dos anos 2000. Entretanto, mesmo as entrevistadas que não chegaram a ser zineiras manifestam seu reconhecimento de que produzir zines é algo importante, dizendo que perderam essa oportunidade. O reconhecimento da importância dos zines faz com que eventos importantes e recentes na cena tenham sua programação divulgada no formato fanzine, que é usado não apenas na sua divulgação impressa, mas também na divulgação virtual e nos materiais distribuídos em oficinas do evento.

Por se tratar de um processo lento, que demanda trabalho intelectual e manual, para posteriormente ser impresso, fotocopiado e distribuído, a elaboração de um zine é limitada basicamente por dois fatores: tempo e custo financeiro. Durante a pesquisa, tais fatores foram citados como motivos para o abandono da elaboração de zines por parte de jovens garotas envolvidas com atividades de estudo ou com a entrada no mercado de trabalho, e parecem ter contribuído para que, com o passar do tempo, houvesse uma redução significativa na produção dos zines de papel, num processo inversamente proporcional ao crescimento de e-zines e fotologs. No entanto, se a internet oferece vantagens como a ausência de custos com impressões e fotocópias e uma maior divulgação, o fato de não termos nos dedicado à análise de e-zines, blogs e fotologs limita a possibilidade de afirmar que há um processo de gradativa substituição. O que os depoimentos das entrevistadas permitem afirmar é que o número de zines de papel diminuiu consideravelmente com a popularização da internet.

Entre os fanzines analisados neste artigo, a totalidade dos produzidos antes dos anos 2000 não possuía data. Alguns puderam ser identificados por detalhes, como atividades divulgadas, autoria ou formação das bandas citadas. Por outro lado, a maior parte dos fanzines que pudemos coletar, ou mesmo ter notícias, foi produzida nesse período. Apesar dessa dificuldade, há vários dados acerca da forma e do conteúdo dessas publicações que nos permitem acesso à produção do feminismo na cena do rock de mina anteriormente ao período de maior difusão da internet e da expansão da visibilidade da cena.

Assim como os grrrlzines norte-americanos, os zines aqui estudados abrem um espaço de expressão para mulheres jovens num momento em que o feminismo, tanto em suas expressões mais teóricas quanto ativistas, ainda não abordava questões ligadas às mulheres jovens. A escolha dos fanzines de papel para esta análise se justifica pelo fato de que, apesar de em decréscimo, tais publicações ainda estavam presentes no período em que estive em campo e se constituíam em fontes documentais que permitiam entrever questões que têm permeado o estilo das minas do rock e sua prática feminista, como veremos adiante. Dado o fato de que os fanzines sejam importantes na cena não só por seu conteúdo como por sua forma, a análise realizada a seguir se inicia pelas bordas, pelo formato e estrutura, para finalmente, adentrar o seu conteúdo.

O formato dos zines das minas do rock

Os fanzines das minas do rock têm, em sua maioria, como suporte uma ou mais folhas de papel no formato sulfite dobrada(s) ao meio, como um tipo de pequeno caderno, numa formatação semelhante à encontrada por Oliveira (2006) nos punkzines brasileiros. Porém, em alguns zines, o formato é semelhante a uma revista, em que as folhas são usadas em sua totalidade, não são divididas ao meio, como é o caso dos fanzines Dear Jessie nº3, Kaostica Zine e Volkano. O formato revista parece ter estado mais presente no período de maior produção de zines na cena – na segunda metade dos anos 1990.

Antes de abrir um fanzine, o que nos chama a atenção é a capa. Na grande maioria dos zines analisados nesta pesquisa, os temas das capas fazem referência ao universo dessas garotas: desenhos de meninas tocando instrumentos, ilustrando a relação entre música, principalmente o rock, e feminismo, em uma colagem composta por fotos ou desenhos de jovens mulheres com instrumentos musicais, como forma de identificação com o rock e com o emprego deste como forma de empoderamento de jovens mulheres.

Em outras capas, como a do Girl's unity, encontram-se garotas de mãos dadas, o que remete à solidariedade entre jovens mulheres. Esse foi um fator enfatizado pelas entrevistadas desta pesquisa, assim como as de Erica Melo: "a união entre garotas funciona como uma ferramenta para seu 'empoderamento feminista'" (Melo, 2008:98).

Outra figura que se repete tanto nas capas quanto no interior dos zines é o símbolo do feminino acompanhado de um punho fechado, seja este punho desenhado no interior do próprio símbolo (como nos zines Hysterocracya e Um Outro Olhar), ou atrelado a ele (como no caso do zine MútuoAção). O símbolo do feminino com um punho fechado em seu interior remete a uma posição de enfrentamento e à afirmação do feminismo. Em muitos dos fanzines em que esses símbolos estão presentes, a palavra feminismo também aparece na capa, o que não quer dizer que não apareça nas capas daqueles que não utilizam tais símbolos.

Outra imagem recorrente nas capas dos zines (Dear Jessie, Kaostica zine, Contexto zine, Hysteriocracia zine, Um outro olhar, MutuoAção) é a representação de corpos ou rostos de mulheres. As mulheres retratadas são geralmente jovens, aparecem dançando ou tocando instrumentos e vestidas em estilo punk, pin-up ou andrógino. Essas imagens aparecem tanto na forma de fotos quanto de desenhos. Há também figuras estilizadas de meninas em situações lúdicas ou de personagens de desenhos animados ou quadrinhos associados à meninice ou adolescência, como é o caso da personagem Hello Kitty. Há ainda imagens de mulheres que ocupam o lugar de ícones intelectuais ou artísticos, como Frida Khalo e Virginia Woolf.

Ao abrirmos um fanzine, geralmente encontramos um tipo de editorial relatando os temas que serão abordados em seu interior, bem como eventualmente o enfoque ou perspectiva sob o qual serão tratados. Encontramos também agradecimentos às pessoas que auxiliaram na sua composição , pois, na maioria das vezes, os zines contêm textos, entrevistas e/ou desenhos de duas ou mais autoras, geralmente integrantes de uma mesma rede social.

Após o editorial, que se constitui geralmente em um ou dois parágrafos, iniciam-se os textos acompanhados de símbolos, desenhos e recortes de palavras retirados de jornais e revistas, de modo a compor uma outra combinação de palavras. Os textos são diagramados com parágrafos recortados e colocados em uma ordem não convencional, de modo que é possível classificar a forma desses zines em dois tipos: um com uma diagramação aparentemente caótica, com abuso de imagens, símbolos e frases escritas a mão, numa diagramação semelhante aos punkzines, e outro mais semelhante a revistas, escritos em máquinas de escrever ou digitados em computador com poucos símbolos e fotos.

Geralmente, os textos são de autoria do coletivo ou conjunto de amigas/os que assinam o zine. As imagens dividem-se entre as que são colagens com composições organizadas pelos autores e desenhos de autoria dos responsáveis pelo zine. No entanto, também é comum encontrar alguns textos retirados de revistas, jornais ou de páginas da internet como complementação de seu conteúdo.

Logo após os textos, com seus símbolos e figuras, o zine é finalizado com uma contracapa. Este espaço na maioria das vezes é utilizado para a manutenção de redes sociais entre as zineiras, ou seja, na contracapa, as editoras do zines identificam seus respectivos endereços para correspondência. Nos zines datados antes de 2000, eram usados como endereço para correspondência o próprio endereço de uma das editoras ou uma caixa postal. Depois disso, com a difusão da internet, endereços eletrônicos e, posteriormente, endereços de blogs, serviços de apoio a mulheres vítimas de violência, de organizações feministas ou myspaces de bandas passam a ser divulgados. Há também na contracapa endereços de caixas postais e/ou e-mails de outros fanzines, bem como letras de músicas de bandas feministas, e/ou poemas, acompanhados de imagens relacionáveis a resistência, violência ou à união de meninas.

Forma e conteúdo: gerações no rock de mina paulistano

Ao cotejar as imagens utilizadas nas capas com o conteúdo dos zines, pude perceber que há algumas correspondências entre determinados tipos de imagens utilizadas nas capas e o conteúdo presente no interior do zine e que diferentes combinações de forma e de conteúdo poderiam e, em geral, estavam relacionadas a pertencimentos ideológicos ou a determinados estilos que conviviam na cena. Pude perceber, ainda, que há diferentes ênfases em diferentes períodos.

Assim, por exemplo, as imagens relacionadas à meninice e a personagens infanto-juvenis ( Cantinhos das Felinas, Girl's unity, Volkano) estão presentes em fanzines cujo conteúdo sugere que as responsáveis tinham relação com a cena straight edge. Geralmente criticam o especismo, divulgam o vegetarianismo e receitas veganas, criticam o uso de drogas, têm os nomes das colaboradoras grafados com "x" no início e final dos nomes ou possuem a inscrição "S x E" (que significa straight edge) em suas páginas. Esses zines nem sempre possuem data, mas o conteúdo indica que foram produzidos na segunda metade dos anos 1990. O conteúdo feminista ou relacionado à produção cultural da cena não é muito intenso. Um dos zines prioriza o vegetarianismo e os outros são marcados pela solidariedade entre meninas e pelo empoderamento, tratados entre outros temas relacionados à música ou a outras causas sociais. Há também tentativas de promover um diálogo entre a crítica ao especismo e questões relacionadas ao universo de mulheres adolescentes e jovens: o zine Cantinho das Felinas (1995), por exemplo, traz dicas de maquiagem, como nas revistas para adolescentes, chamando atenção para os cosméticos livres de crueldade, ou seja, aqueles que não são testados em animais. Mesmo o nome do zine sugere uma ligação entre mulheres e animais, ao denominar as autoras e seu público como felinas. Outro número ironiza as representações estereotipadas de feminilidade na sessão "Som na caixa", que resenha uma série de bandas de rock feministas e femininas sob a seguinte chamada: "música felina para ouvidos delicados e peludinhos...".

Os zines que trazem imagens de garotas punks ( Kaostica zine, Contexto zine) estão relacionados ao início da cena do rock de mina e estabelecem relação com a cena riot grrrl internacional, trazendo letras de músicas, resenhas de fitas demo (gravações independentes ou caseiras de bandas) e de CDs, além de entrevistas com bandas da cena. Remetem a um contexto em que estão incluídas bandas nacionais, mas há forte referência a bandas internacionais. Há, ainda, evidente esforço em definir o que é riot grrrl para as zineiras e trazem textos que advogam contra a homofobia e contra os efeitos do sexismo, alguns deles traduzidos ou fazendo referência a acontecimentos internacionais. Desses zines, tivemos acesso aos que foram produzidos entre 1995 e 1996.

Entre os zines que possuem o símbolo do feminino e punhos na capa ( Hysterocracia zine, MutuoAção, Um outro Olhar), um traço comum é trazerem menos conteúdo sobre bandas e música e mais sobre feminismo. Todos eles foram produzidos entre 2004 e 2007, mesma época em que foram realizados os festivais Lady Fest em São Paulo. Trata-se do que uma das entrevistadas desta pesquisa e responsável por um desses zines denomina de "segunda geração de minas do rock", marcada pelo crescimento da visibilidade da cena. Esses zines têm como marca continuar tratando de temas relacionados ao que se poderia chamar de demandas de mulheres jovens, como aborto, violência contra as mulheres (inclusive no transporte público), pressões relacionadas à estética, prostituição. Outros traços em comum são: a ênfase no faça-você-mesma e na autonomia, sendo que alguns são declaradamente anarcofeministas; nenhum deles advoga uma perspectiva feminista separatista; em geral referem-se à opressão das mulheres como sexismo e reconhecem que homens e mulheres podem ser sexistas. Uma parte deles traz conteúdo anti-homofóbico e outra parte traz várias referências de organizações feministas, como a Sempreviva Organização Feminista, a Marcha de Mulheres e a União de Mulheres.

O acompanhamento dos temas tratados nos zines também dá mostras da passagem de uma cena feminista em que algumas garotas das bandas eram reconhecidamente homossexuais para um contexto em que a categoria dyke passa a ser quase sinônimo de mina do rock e tem seu significado alargado, de modo a incorporar qualquer garota que compartilhe uma dada estética e o gosto por convivência com outras mulheres e bagunça feminina (Facchini, 2008). Os conteúdos dos zines apontam para esse processo de mudança: os zines da "primeira geração", datados a partir da segunda metade dos anos 90, priorizavam temas como aborto, violência contra a mulher e o faça-você-mesmo, e os zines da "segunda geração" trazem com força temas como sexualidade e combate à homofobia.

Outros dois fanzines publicados em 2006, ainda que não tenham o símbolo do feminino ou punhos na capa, também parecem ser herdeiros dessa mesma perspectiva, embora se voltem muito mais para questões pessoais, como o compartilhamento de experiências ( Cansei disso tudo) e para temas menos estridentes ( Contexto zine), como é o caso de abordar o sexismo a partir da ditadura da beleza e não de temas como abuso sexual e aborto. Um terceiro zine, que não está datado ( As cuzonas), mas remete a atividades ocorridas entre 2005 e 2006, enfatiza mais as manifestações culturais da cena do que o feminismo. Traz na capa a foto de integrantes da banda Dominatrix e em seu interior uma entrevista com a responsável pelo projeto Santa Claus. O conteúdo feminista fica por conta da tradução de letras de música, do conteúdo da entrevista e da resenha de filme. Outro traço marcante desse zine é a crítica à homofobia.

Dear Jessie é o nome de uma outra publicação numa perspectiva semelhante a das que trazem garotas punks na capa e a seus "seguidores", embora trate exclusivamente de feminismo e não se refira a rock. O fanzine foi publicado em 2000, trata-se de uma versão revista e ampliada do mesmo zine. Possui como imagem de capa uma foto de mulher andrógina. Trata-se de zine editado em formato revista, escrito em primeira pessoa, dialoga com a leitora, critica teorias biológicas sobre as supostas passividade e fragilidade femininas, defende o casamento entre pessoas do mesmo sexo e aborda a violência contra mulheres e o abuso sexual na infância e/ou adolescência e critica a educação sexista. Esse pode ter sido um dos fanzines que influenciou o que nossa entrevistada citada anteriormente chama de "segunda geração". Não é comum haver referências teóricas feministas nesses zines, mas, quando há – tanto neste último quanto nos da "segunda geração" que privilegia temáticas feministas –, são citadas Simone de Beauvoir e, entre as anarco-feministas, também Emma Goldman.

Um último zine é o Ovulando Revolução, que, embora não tenha data, teve duas edições distribuídas em 2007 e difere dos demais no formato e no conteúdo. Não obedece ao formato de revista, nem o dos punkzines: trata-se de folha sulfite impressa em frente e verso e dividida em três colunas, com poucas imagens e letras pequenas e uniformes. Esse zine não tem capa com imagem, nem contracapa e não traz contatos de outros coletivos ou zines, divulgando apenas o contato de email do coletivo responsável e de seu blog. Assim como o anteriormente descrito, não se refere à produção cultural da cena do rock de mina, embora seja distribuído em eventos dessa cena. No que diz respeito ao conteúdo, difere por defender o feminismo radical e o separatismo, situa a opressão feminina como efeito do patriarcado e os homens como algozes, advogando a lesbianidade como a forma plena do feminismo e criticando a atuação mista em prol do combate à homofobia, os coletivos queer e a ausência do uso de rótulos. Aborda temas como o consumo de álcool, erotismo, prostituição, pornografia e BDSM de modo a relacioná-los à violência, e especialmente à violência patriarcal. Nesse zine são citadas autoras que ficaram conhecidas como "feministas radicais anti-sexo", como é o caso de Andrea Dworkin.

A análise comparada entre as imagens das capas dos zines e de seu conteúdo ajuda a refletir sobre a iconografia que apresentam, recheada de imagens de mulheres e símbolos relacionados ao feminismo e à solidariedade feminina, por vezes descrita como união de garotas tanto pelas zineiras, quanto pelas entrevistadas (que em sua maioria também eram zineiras). Tais imagens sugerem uma relação entre o que se mostra nesses zines e as ideias de uma condição compartilhada entre as mulheres e a solidariedade feminina propagada pelas feministas radicais dos anos sessenta e setenta, como sintetiza Chinchilla (1982:223): "apoyo a otras mujeres – todas las otras mujeres, por exemplo, 'la hermandad'– debe tener prioridad sobre las lealtades a outras categorias de personas". No entanto, não se pode depreender daí a adesão a determinada corrente ideológica: trata-se, antes, do uso estratégico de determinados elementos do discurso feminista, que se combinam com outros numa composição bastante livre, gerando um bricolage de elementos, que incluem referências da reflexão teórica feminista de forma não necessariamente coesa e nem mesmo sempre coerente.

O feminismo dos zines

Nos zines analisados é possível perceber diferentes temas abordados, que vão desde dicas de cosméticos não testados em animais e receitas veganas até entrevistas com integrantes de bandas de rock e resenhas de filmes ou CDs. Porém o tema que se repete em todos eles é o feminismo, um tipo de feminismo peculiar. Esse feminismo procura se diferenciar em relação ao que chamam de feminismo "institucional", visto que rejeita o conhecimento acumulado e valoriza a autonomia. Esse feminismo aparece, em alguns zines e entrevistas, referido como "feminismo riot grrrl" (Entrevista Emilia, 2008).

Entre os zines a que tive acesso, aqueles publicados até o final dos anos 1990 seguem uma forma de diagramação mais limpa, digitados em computador, sem muitas colagens, num estilo revista. Já os produzidos na primeira metade dos anos 2000, variam entre o modelo revista e o punkzine. O que chama atenção é que alguns dos zines de conteúdo mais marcadamente feminista escritos entre 2004 e 2007 ( Hysteriocracya, Um Outro Olhar, Mega Femme e Ovulando a Revolução) têm um formato mais próximo ao punkzine. Há, assim, uma transformação perceptível, conforme a cena das minas do rock vai se afirmando no Brasil, no sentido de buscar linguagens mais soltas e despojadas, próximas dos punkzines, na apresentação de pautas feministas.

Isso nos remete a duas hipóteses, no que diz respeito ao contexto em que foram produzidos. Uma delas diz respeito ao fato de esse ter sido o período em que ocorreram os LadyFest em São Paulo e poderia haver uma estratégia no sentido de dialogar com o público atraído pelo festival acerca de feminismo. Mas, por outro lado, como nos relata Emília, em entrevista realizada em 2008, houve uma tentativa de aproximação com as organizações feministas, que gerou tensões tanto do ponto de vista das minas do rock, que as consideravam teóricas demais e criticavam o grau de institucionalização das organizações, quanto do ponto de vista das organizações feministas que tendiam a considerá-las baderneiras. Essa mesma tensão é registrada na etnografia de Facchini (2008), que enfocou o período de realização dos Lady Fest em São Paulo. Desse modo, é possível argumentar que a mudança de estilo nos zines nesse período pode tanto procurar atrair as jovens acessadas pelo festival para o debate feminista, quanto mostrar para as feministas de organizações que é possível ser punk e feminista.

Um exemplo disso é o número 1 do zine Um outro Olhar, publicado em outubro de 2004, cerca de seis meses após o primeiro Lady Fest. As editoras são duas garotas na faixa dos 22-24 anos. Na capa, marcada por várias colagens e pela imagem do rosto de uma jovem em atitude reflexiva, temos, além do título e da data de publicação, duas inscrições que ladeiam a imagem de capa: "GAROTAS PENSANTES" e "Ousadia, Atitude e Consciência para a resistência feminista". Na contracapa do zine, há vários pequenos textos colados com muitas imagens e recortes de inscrições em diferentes tipos de letras: "No more repression"; "Women, Art"; "Quebre as correntes".

Se compararmos a pauta de reivindicações feministas apresentadas nesse zine à elaborada por jovens feministas atuantes em diversas redes nacionais, reunidas por ocasião de uma pesquisa (Abramo; Facchini, 2008), é possível notar que boa parte dos pontos citados é convergente. No entanto, no zine, essa pauta está exposta em meio a uma série de outros elementos visuais e temas – bem como num formato – que provavelmente não seriam encontrados numa publicação divulgando a pauta produzida num congresso feminista. Esse modo de exposição é deliberado: implica falar de modo curto e direto, expondo experiências pessoais ou muito comuns de modo concreto, demonstrando o vínculo entre a vida de cada uma e o que está sendo dito e utilizando uma linguagem – visual e escrita – que vincule o zine e seu conteúdo ao cotidiano da cena e de suas integrantes. Isso resulta, sem dúvidas, num modo próprio de compor essas publicações, que difere tanto das publicações feministas quanto dos punkzines feitos fora da cena. Trata-se de uma composição intencional de um conjunto de elementos retirados de seu contexto original, compondo um bricolage que dialoga (de modo a se identificar ou diferenciar) com outros grupos, pessoas ou com instituições.

Essa abordagem diferenciada em relação às linguagens possíveis pelas quais se apresenta o feminismo também se expressa na mescla de feminismo e produção cultural (música, filmes, entrevistas) que observamos nessas publicações, embora falar dessa produção na maior parte das vezes implique falar em feminismo. De acordo com Melo (2008), o feminismo riot grrrl "não rejeita a diversão, contrariando o formato sério, muito concentrado em palavras, faladas ou escritas. O riot grrrl é feito de palavras, mas também de som e cores" (Melo, 2008:84).

Nos zines analisados nesta pesquisa são ainda traços mais gerais a necessidade de posicionamento como uma negação do status de vítimas pelo qual essas jovens mulheres são representadas, bem como a criação de um ambiente pessoal e o diálogo com as leitoras por meio do relato de experiências e de uma linguagem simples e direta.

Segundo Melo (2008:84), além da valorização do lazer, o feminismo riot grrrl seria composto por uma série de elementos como: a valorização do cotidiano, o "tom biográfico", uma linguagem "espontânea" e que não se identifica com o feminismo acadêmico, a presença de "elementos masculinistas do punk", o "empoderamento através da música", a recusa à heteronormatividade, a busca por espaço exclusivo para que possam debater seus problemas, a rejeição aos padrões dominantes de beleza, o questionamento da educação diferenciada entre meninos e meninas e a recusa da naturalização do gênero.

A denúncia da violência contra as mulheres, tanto na esfera pública quanto na privada, seja através de dados estatísticos, palavras de ordem, textos ou imagens, bem como a defesa da legalização do aborto e sua relação com o "pro-choice" norte-americano foram temas encontrados em todos zines analisados. A ocorrência de outros temas, como a crítica à educação sexista, à homofobia ou heteronormatividade, à naturalização das diferenças entre homens e mulheres, ao casamento, a padrões de beleza socialmente impostos e às várias formas de opressão, é variada.

De acordo com Facchini (2008), em sua análise sobre a cena no período (2004-2007) em que foram realizados os Lady Fest em São Paulo:

a versão de feminismo presente entre as minas do rock mistura elementos de uma certa 'fraternidade feminina', que se estende a comportamentos homoeróticos entre as dykes, com muita ênfase no empoderamento e no fortalecimento do protagonismo e capacidade de expressão das mulheres. [...] Embora haja toda uma ênfase na polarização entre homens e mulheres e no confronto a atitudes cerceadoras e violentas praticadas por homens contra mulheres - enfrentando inclusive questões difíceis e pouco tocadas como a violência/abuso sexual contra garotas no núcleo familiar -, o tema da violência no âmbito das relações afetivo-sexuais é abordado de modo inovador. [...] Boa parte das iniciativas na cena riot grrrl nos remete aos princípios do 'faça-você-mesmo' e/ou da 'ação direta', caras ao punk e a posicionamentos políticos anarquistas. [...] Esse campo um tanto difuso de referências compartilhadas parece fundamental para entender melhor as relações que se estabelecem entre as riot grrrls e o movimento feminista mais amplo. [...] O foco nas transgressões estéticas é bastante significativo na cena e, olhar mais atentamente para essas transgressões, permite entrever um feminismo que, longe de ser unitário, seria melhor descrito como polifônico, revelando um conjunto diversificado de vozes e subjetividades (Facchini, 2008:162-165).

Todos os elementos que constituem o "feminismo riot grrrl" analisado por Melo (2008), bem como os traços identificados por Facchini (2008) foram encontrados na análise dos zines realizada nesta pesquisa. Ao longo deste artigo, foram assinalados elementos como: a valorização de posicionamento político em situações cotidianas juntamente com a rejeição do status de vítimas; a conscientização sobre a violência contra a mulher tanto na esfera pública quanto privada; a recusa aos padrões dominantes de beleza e à heteronormatividade; o questionamento da educação diferenciada entre garotos e garotas; a busca de uma linguagem pessoal, simples e direta para falar sobre o feminismo; a defesa da autonomia para a ação; e, assim como nos fanzines punks (Hebdige, 2004), há uma recusa ao conhecimento acumulado.

Vejamos o manifesto publicado no Hysterocracya zine, de março de 2007:

Manifesto de Reivindicação de um Novo e Verdadeiro Feminismo

A luta do Feminismo é a luta contra o Patriarcado;

Feminismo é a destruição dos papéis sexuais e das categorias de gênero;

Feminismo é AUTONOMIA: anti-partidário e anti-oportunismo;

Contra o Feminismo de cabresto aparelhado pelo estado fazendo obedientemente seu papel de 2º sexo de ONGS, Partidos, Sindicatos e Governos;

Feminismo não deve ser confundido com patriarcas travestidos como Condolezza Rice que conquistam o cargo de dominação de seus carrascos;

Contra o Feminismo que negocia com os opressores;

Contra o Feminismo bem comportado que dá satisfações ao machismo e teme a ousadia;

Feminismo é solidariedade feminina, mulheres unidas são a força feminista;

Feminismo é a construção de uma identidade autêntica para nós mesmas, emancipação que negue aquilo que o sistema quer que sejamos;

Contra o androcentrismo que coloca o 'Homem' como protagonista do sexo e representante da humanidade, e que infecta as ciências, a linguagem, nossas mentes, corpos, ações e invisibiliza a mulher e a sua luta;

Contra a falácia da natureza biológica determinante de sujeitos sexuados: SEXO É CONSTRUÇÃO SOCIAL carregada de ideologia que nos domestique à submissão;

Compreensão que o Patriarcado é o sistema basilar e histórico que constitui a sociedade, anterior ao capital (embora se manifeste por meio deste), um princípio econômico, político, ideológico e estrutural de dominação;

O feminismo não trata de uma opressão 'específica' pois o que combate – o Patriarcado – é o que produz sintomas como racismo, o sexismo, especismo, classismo, etnocentrismo, heterosexismo, todos de base originária comum;

Contra o generismo academicista pós-moderno que volta o movimento à imanência teórica sem prática;

Feminismo é ação: por uma práxis atuante e combativa: Por um conhecimento que transforme o pensamento em arma de revolução;

O Patriarcado é o regime de destruição do planeta: Feminismo é Ecologia e defesa da mãe-Terra;

Contra o sistema da violência do macho que se traduz através do Estado, exército, religião, leis, monopólio, escravidão;

Uma revolução pela humanidade e todas as formas de vida!!

No manifesto acima, podemos notar a presença de elementos como anarcofeminismo, feminismo radical e ecofeminismo. O patriarcado – noção cara ao feminismo da "segunda onda" – é citado como a fonte de todas as opressões sociais e machos e mulheres são referidos, respectivamente, como expressões do mal e do bem. No entanto, ao mesmo tempo se advoga: Contra a falácia da natureza biológica determinante de sujeitos sexuados: SEXO É CONSTRUÇÃO SOCIAL.

No Hysterocracya zine, acima citado, produzido em 2007, temos exemplos de abordagens anarcofeministas, ecofeministas e do feminismo radical. No Ovulando a revolução, também distribuído em 2007, temos uma concepção semelhante. Não há nenhuma referência a música ou ao riot grrrl. O patriarcado é visto como a fonte de todas as formas de opressão e estabelece-se uma relação entre especismo e patriarcado, considerando que este último representa a dominação de uns sobre outros. O homem é visto como o algoz de todas as formas de violência e a lesbianidade é apresentada como a forma plena do feminismo, sendo o separatismo reivindicado como um direito inalienável das mulheres.

No zine Ovulando Revolução, várias modalidades de erotismo, como BDSM, sexo ao telefone, pornografia e a noção de consentimento são criticados:

Ok. foda-se o 'consenso' em estar no pornô. elas consentem em ser prostitutas, [...], elas consentem em sexo ao telefone, [...], elas consentem em encenar serem bissexuais e fazê-lo com outras garotas na frente homens para seu prazer.

Riot Grrrl é definição de movimento feminista formado para combater o domínio no movimento punk, e, por extensão, no resto do mundo. [...]

Promover

respeito/amor fraterno entre meninas;

Expor e combater a brutalidade masculina;

Desafiar o público a rejeitar modelos tradicionais em favor da identidade individual e livre.

É IMPORTANTÍSSIMO SABER QUE O RIOT GRRRL NÃO É CONTRA HOMEM.

[...] "FEMINISMO NÃO É SEXISMO REVERSO"

Em 2004, o número 1 do zine Um outro Olhar há um texto intitulado "Rebeldes sem causa?", produzido por garotas que participam de bandas e citam o riot grrrl no zine, diz:

Não aceitamos o preconceito aos negros e/ou homossexuais, e muito menos piadinhas e insultos fúteis cometidos por pessoas machistas, racistas e homofóbicas. [...] Não queremos ter que assistir uma garota se maquiando, se matando na academia [...] Mulheres e homens em luta por um feminismo revolucionário!

Nesses dois últimos zines – Kaostica e Um outro olhar –, a opressão contra as mulheres aparece tratada como sexismo, que seria uma opressão diferente do racismo e da homofobia. Homens e mulheres são vistos potencialmente como sexistas e coniventes com a violência. Embora existam textos que criticam a homofobia no interior desses dois fanzines, a heterossexualidade, assim como qualquer outra modalidade erótica consensual, não é criticada. Eles são escritos para garotas que se considerem hetero, homo ou bissexuais. Em nenhum deles foi encontrada nenhum incentivo ao separatismo, e, ao contrário dos zines Ovulando a revolução e Hysterocracya, fazem questão de ressaltar que feminismo não é contra homens e não procura promover um sexismo reverso.

Numa linha mais semelhante ao Kaostica e ao Um outro olhar, o zine MútuaAção #4, de 2006, vai um pouco mais longe no que diz respeito à relação entre homens e feminismo, trazendo um texto sobre "homens feministas ou riot boys: o "Riot Boy" pode ser entendido como garotos tentando se inserir em discussões que dizem respeito a quebra de uma estrutura patriarcal que prevalece sobre um todo".

É sintomático que os únicos zines de papel que pudemos acessar no período em que a pesquisa esteve em campo foram o Hysterocracya zine e o Ovulando revolução, ambos de 2007, que eram distribuídos em atividades da cena de forma complementar à existência de blogs em que se divulga o mesmo conteúdo. Esses zines eram distribuídos como forma de divulgar ideias que contestam outras concepções que eram debatidas na cena naquele momento. Basta lembrar que o fanzine MútuaAção #4, de 2006, trazia um texto sobre Riot Boys e que, em 2006 e 2007, várias bandas da cena do rock de mina participaram do Queer Fest, festival da cena punk voltado para a discussão da diversidade sexual e que, além de reunir bandas queercore e dykecore, trazia em sua programação vídeos e oficinas que faziam referência à pornografia.

Zines: um espaço de agência de jovens mulheres entre o público e o privado

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"Manifeste-se, faça um zine!": uma etnografia sobre "zines de papel" feministas produzidos por minas do rock (São Paulo, 1996-2007)

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DOSSIÊ: FEMINISMOS JOVENS "Manifeste-se, faça um zine!": uma etnografia sobre "zines de papel" feministas produzidos por minas do rock (São Paulo, 1996-2007) "Show yourself up, make a zine!": an ethnography about feminist "paperzines" created by "minas do rock" (São Paulo, 1996-2007) Michelle Alcântara Camargo Mestre em Antropologia Social pela UNICAMP,

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2005 Articles

Zines and blogs are both low budget--if you have access to an Internet computer. Clearly the publishers of The Zine Yearbook, Jen Angel and Jason Kucsma, get the zines vs. blogs query a lot, too, since they addressed the issue in the introduction to Volume 8 of the Yearbook. As they put it, "You don't need any specialized equipment to broadcast over the airwaves or record your ideas, and you don't even need a computer to create or view zines. All you need is a pen, paper, and a couple of dollars for the copy machine. . . . Because there are no economic barriers to creating zines, they far bridge the digital divide (the gap between those who have access--and how much access--and those who do not) as a grassroots and decentralized form of media. You're getting the voices of anyone with the gumption to put their words on paper--not simply those who have access to a computer." Zines are not entirely free to create either, but historically, part of the art of zining has been scamming as many of the materials and copies as possible. A primary feature of blogging is its instant gratification. Something interesting happens, the blogger remembers a dream, or zhe reads a funny post on another blog, and within moments of having that experience, zhe can publish what happened and hir reaction to it for most any other Internet enabled person to see--and link to. Although there is a genre of "24-hour zines," for quick turnaround, speed is not the norm in zine publishing. Notes [Chris Dodge], "I think the key distinction is that a blog posting tends to be written and published on the spur of the moment, as opposed to a zine's creation over time. Most zines tend to be compiled, with material gathered, written, or drawn over weeks, months, or years, and actually edited, if only by the zine publisher herself. Thus they are more like little self-published books than blogs." Zines, although they're called ephemera in library lingo, are actually a lot more permanent than blogs. The zine reader gets to keep the thing forever. When the reader returns to the zine, unless zhe has spilled coffee on it or wrought some other type of damage, it will be the same. It may disappear due to the holder's negligence, but not because the zinester couldn't maintain hir domain name or website or could have, but got sick of doing so. A factor so significant in defining the difference between zines and blogs that it's shocking this issue is so far down in this piece is that zines are finished products (even if serials catalogers don't think so). [Blogs] are not. No matter how sloppy a zine is--and they really can be a mess--someone has taken responsibility for the thing as a whole. Blogs are in danger of only being as strong as their most recent post. The pressure is to add to it daily. Zinesters also put pressure on themselves to produce more regularly, but ultimately it doesn't matter much. I am sad when my friend [Celia C. Perez] doesn't send out a new zine for a year, but that doesn't make me any less likely to read the new one when it finally comes. In fact, the delay adds to the thrill. If the blogger doesn't post for a couple of weeks, zhe may lose hir readership altogether.

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Zines Are Not Blogs: A Not Unbiased Analysis

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Zines and blogs are both low budget--if you have access to an Internet computer. Clearly the publishers of The Zine Yearbook, Jen Angel and Jason Kucsma, get the zines vs. blogs query a lot, too, since they addressed the issue in the introduction to Volume 8 of the Yearbook. As they put it, “You don…

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RÜSCHE, Ana. Zines: contemporâneos e geniais. 2016. Disponível em: http://wordpress.anarusche.com/zines-e-fanzines/. Acesso em: 3 jun. 2018.

SANTOS, Alexandre dos; ROSA, Enio. Indo além: bibliotecário cria fábrica de histórias em Picada Café, RS. G1. Picada Café (RS), 22 set. 2014. Disponível em: http://g1.globo.com/rs/rio-grande-do-sul/jornal-do-almoco/videos/v/indo-alem-bibliotecario-cria-fabrica-de-historias-em-picada-cafe-rs/3645602/. Acesso em: 24 fev. 2019.

SOUZA, Alberto. Marxismo na atualidade: nova edição do Zine Café Filosófico em produção. Blog Iffanzine, Macaé (RJ), 23 mar. 2017. Disponível em: https://iffanzine.blogspot.com/2017/03/marxismo-na-atualidade-nova-edicao-do.html?fbclid=IwAR2Wamd6XgyBHOeXnpnmaeoSEU94ra2Y94dYJWcF-3T-FdlxikK4kHFZJos. Acesso em: 24 fev. 2019.

SOUZA, Alberto. Campanha de doações de fanzine/intercâmbio. Blog Iffanzine, Macaé (RJ), 22 jan. 2018. Disponível em: https://iffanzine.blogspot.com/2018/01/campanha-de-doacoes-de.html. Acesso em: 24 fev. 2019.

SOUZA, Alberto. FNPAS: visita de Natania Nogueira à Fanzinoteca do IFF Macaé. 2018. Disponível em: https://www.youtube.com/watch?v=TcN6pFQ0uiw. Acesso em: 1 set. 2018.

STODDART, Richard A.; KISER, Teresa. Zines and the library. Library Resources & Technical Services, Chicago, v.48, n.3, p.191-197, jul./dez. 2004. Disponível em: http://citeseerx.ist.psu.edu/viewdoc/download?doi=10.1.1.896.9400&rep=rep1&type=pdf. Acesso em: 2 out. 2018

THOMAS, Susan E. Value and validity of art zines as an art form. Art Documentation: Journal of the Art Libraries Society of North America. Chicago, p.27-38. set. 2009. Disponível em: https://digitalcommons.liu.edu/cgi/viewcontent.cgi?article=1042&context=brooklyn_libfacpubs. Acesso em: 18 set. 2018.

TISSOT, Law. Visite o ArtEstação e a Fanzinoteca Mutação. Blog Fanzinoteca Mutação, Rio Grande (RS), 3 maio 2010. Disponível em: http://fanzinotecamutacao.blogspot.com/2010/05/visite-o-artestacao-e-fanzinoteca.html?view=magazine. Acesso em: 20 set. 2018.

WOOTEN, Kelly. Women's zines in the Sarah Dyer zine collection. 2002. 50f. Dissertação (Mestrado) - Master of Science In Library Science, School of Information and Library Science, University of North Carolina, Chapel Hill, 2002. Disponível em: https://ils.unc.edu/MSpapers/2786.pdf. Acesso em: 10 set. 2018.

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Os zines e as bibliotecas: uma relação necessária

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ALMEIDA, Vitória Gomes; LIMA, Izabel França de. Bibliotecas, cultura e memória: possibilidades e desafios. Folha de Rosto: Revista de Biblioteconomia e Ciência da Informação, Fortaleza, v.2, n.2, p.56-64, jul./dez. 2016. Disponível em: https://periodicos.ufca.edu.br/ojs/index.php/folhaderosto/article/view/113/121. Acesso em: 12 dez. 2018. ANDRAUS, Gazy. Existe o quadrinho no vazio entre dois quadrinhos?: (ou: O Koan nas Histórias em Quadrinhos Autorais Adultas).

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Zine blog posts

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Blog Search Engine is the ultimate source for searching blogs online. Search for a blog, submit your own blog, or subscribe to an RSS feed on the blog topic of your choice.

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This section is still very much a work in progress. Thank you in advance to anyone who points me to any links to other zine people/places/resources! Zine World Calendar! (Zine events around the world) ZINE DISTROS Antiquated Future (USA) Black Mosquito (Germany) Brown Recluse Zine Distro (USA) Doris Press & Distro (USA) Food + Paper...

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Zines in Libraries: Selecting, Purchasing, and Processing a book by Lauren Devoe and Sara Duff

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Featuring contributions from leaders in the intersection between zines and libraries, including Katrin Abel, Jeremy Brett, Ann (A’misa) Matsushima Chiu, Marta Chudolinska, Jenna Freedman, Joan Jocson-Singh, Mica Johnson, Lauren Kehoe, Joshua Lupkin, Meg Metcalf, and Ziba Perez, this book presents an…

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This is an archive. This site is no longer being updated.

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Editor's Note, August 2000: This classic text once appeared on the Global Mail site maintained by Ashley Parker Owens. It dates from 1995. Although some sections, particularly those listing postal addresses, are outdated, it contains many valuable tips about publishing a paper zine.

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This book traces the psychology, history and theory of the compulsion to collect, focusing not just on the normative collections of the Western canon, but also on collections that reflect a fascination with the "Other" and the marginal - the ephemeral, exotic, or just plain curious.

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Now in its third year, Short Run is a women-owned arts organization in Seattle that celebrates small press in all its forms, from zines, comics, art books, and more. We have events planned all throughout November, leading to a... Read more "

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Now in its third year, Short Run is a women-owned arts organization in Seattle that celebrates small press in all its forms, from zines, comics, art books, and more. We have events planned all throughout November, leading to a... Read more "

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I think of all my books as fancy zines.

Whatcha Mean, What's a Zine? I'll let Wikipedia handle this:

A zine ( ZEEN; short for magazine or fanzine) is most commonly a small-circulation self-published work of original or appropriated texts and images, usually reproduced via photocopier. Usually zines are the product of a person, or of a very small group.

When I'm working on a book, sure, I flip through my bookshelves, looking for stuff to steal, but what I really love to do is head over to my zine drawer (see above) and flip through zines.

Even though my books are printed in mass quantities overseas and are shipped all over the world, I want my books to feel handmade, like they've just come off the photocopier.

Back in December, I wondered in my diary if I should just go ahead and do a real zine, and work my way up to a book:

Maybe next time. Or maybe the country will collapse and this tweet will come true:

There's something really special about zines. " Zines Had It Right All Along." " The Internet Didn't Kill Zines." Even though " The Blissfully Slow World of Newsletters" can feel close to the spirit of zine culture, nothing digital seems to fully replace them. " A blog is not a zine."

Whenever I do a workshop with students, zines are the perfect thing to make together: We make a bunch of blackout poems, each choose our favorites, and then we sequence them, everybody getting their own page. Then we run them on the photocopier, fold 'em, staple 'em, and everybody gets to take one home:

If you want to learn more about zines, check out this book and hit up your public library - several libraries actually have zine collections now! The new Austin Public Library has a whole section next to the comics:

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I think of all my books as fancy zines. Whatcha Mean, What's a Zine? I'll let Wikipedia handle this: A zine ( ZEEN; short for magazine or fanzine) is most commonly a small-circulation self-published work of original or appropriated texts and images, usually reproduced via photocopier.

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I've been making handmade mini zines during the pandemic. On this page I'll share links to them all, including some video tutorials and PDFs that are free for

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Version: 87075

Free, custom templates.

Custum sized papercraft and packaging templates for free 😁. You don't even need to make an account to start using these free printables straight away.✂︎

This site offers an unlimited amount of templates (also knows as 'dielines' or 'nets') for paper craft, packaging, package design, learning materials, decoration and much more.

All the models are custom sized. Usually, that includes the length, width and height of an object. Some models also have some angles you can customise or a number of facets.

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Caixa fatia de bolo

Uma caixa em formato de fatia para colocar um pedaço de bolo. É composta por duas partes, uma em cima e outra embaixo. A parte de cima é a tampa. A parte de baixo é de montar e dispensa cola, já que a tampa a segura. Por padrão, a tampa é 5% maior que a parte de ba ixo, mas isto pode ser ajustado nas configurações avançadas.

O ângulo é a medida que determina o tamanho do pedaço de bolo que vai caber na caixa. Dê uma olhada na figura se ficar em dúvida sobre o que colocar aqui. Por exemplo: um ângulo de 30 é suficiente para fazer uma das 12 fatias de um bolo.

Comprimento é o comprimento da fatia e deve ser aproximadamente a metade do diâmetro do bolo inteiro. Lembre-se de deixar uma tolerância aqui.

More options

Caixão

Halloween! Que tal distribuir guloseimas com charme? Coloque os doces em um caixão! Este molde é composto por uma base e uma tampa.

Use uma fita adesiva para prender a tampa à base, ou ela poderá se abrir à meia-noite... E os doces sairão vagando pela sua casa. Muahahahahaha!

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Envelope

Uma embalagem bem fina para cartas e afins. A propósito, não é possível criar um envelope tamanho A6 (aproximadamente 12cm x 16,5 cm) usando este modelo com uma folha tamanho A4. Não cabe.

Na verdade, é possível

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Cilindro com pontas chanfradas

Um cilindro truncado de acordo com um determinado ângulo em ambas as extremidades. O comprimento é medido pelo eixo. O ângulo de baixo também pode ser rotacionado ao redor do eixo, como se o cilindro fosse torcido.

Cilindros chanfrados, ou tubos, são bastante usados em engenharia para fazer conexões. Para quem quiser fazer uma caixa neste modelo, são geradas uma parte de baixo e uma tampa. Cuidado apenas para não dobrar a aba de colagem!

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Paralelepípedo

Caixas retangulares são muito comuns. Pessoas originais gostam de paralelepípedos! Este é o molde de um paralelepípedo, uma caixa que tem lados enviesados.

Escolha todos os três ângulos entre 0º (completamente achatada) e 90º ( o ângulo reto normal). Note que um ângulo de 100 º é equivalente a um de 80º aqui.

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Estrela decorativa

Dificilmente servirá para guardar alguma coisa, mas é perfeita para decoração de Natal. Dependendo das medidas, você vai criar o molde para uma ponta da estrela (que você vai ter que imprimir e cortar algumas vezes) ou para um dos lados da estrela (que você terá que imprimir e cortar duas vezes). Este último caso é o mais rápido e fácil. Para conseguir fazer sua estrela desta maneira, use uma boa altura, um raio interno grande e um número de pontas menor. Experimente usar as medidas padrão que vai funcionar.

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Trapézio

Caixa em formato de trapézio, ideal para embalar choco lates caros!

Se o modelo paralelepípedo é modernoso demais para você, mas o caixa para presente é muito simplinho, a caixa trapézio é a solução!

De acordo com as medidas, o site escolhe automaticamente entre dois formatos do modelo possíveis, aproveitando melhor o papel onde será impresso ou cortado.

More options

Inserto de Bandeja

Não é uma caixa - é algo para se colocar dentro de uma caixa. É um berço usado para manter um item fixo no lugar. Você pode fazer mais de um, de modo a colocar várias coisas separadamente dentro da caixa. Há um espaço extra para facilitar a remoção do produto encaixado.

More options

Thanks for getting in touch!

You will receive an automated confirmation mail shortly.

If you do not receive such a mail, then it might be that you did not enter your own mail address correctly.

I will usually reply within a couple of days.

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Version: 87075 Free, custom templates. Custum sized papercraft and packaging templates for free 😁. You don't even need to make an account to start using these free printables straight away.✂︎ This site offers an unlimited amount of templates (also knows as 'dielines' or 'nets') for paper craft, packaging, package design, learning materials, decoration and much more.

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Even if you've never heard of a zine, chances are you've probably had one in your hands at some point without even knowing. These handmade booklets provide a way for people to share their art, writing, musings, and give a platform to underrepresented and marginalized voices. If you've got something to say, why not use a zine to express yourself? Read on to learn about the history of the zine, and how you can make one yourself.

What is a zine?

Zines are non-commercial, self-published booklets that are typically reproduced using a copy machine. They provide a safe space for their creator to freely express themselves and share their art, words, and thoughts with a chosen (and often niche) audience. Most zines are produced in batches of 1,000 or fewer, and many are produced in editions of less than 100.

A Brief History of the Zine

Before the the Internet, zines allowed people to create networks, share ideas, and creatively collaborate. The first zines were created in the 1930s, when artists rendered their own science fiction fanzines, or "fan magazines." During the Beat generation of the 1950s and 1960s, independent authors self-published zines that explored their views on American culture and politics.

Zines continued to be a medium of expression throughout the 1970s, when they allowed people to have a voice outside of mainstream media. The self-published magazines helped shape the feminist movement, and in the 1980s, the punk scene saw an array of zines dedicated to music and a cultural revolt against authority.

In the 1990s, the riot grrrl movement (an underground feminist punk movement) used zines to reach out to women across the U.S. in order to start a "girl riot" against a society they believed was sexist. The handmade aesthetic of the zines helped visualize the group's "do it yourself" attitude.

The zine is still a much-loved medium today that continues to have a rebellious charm. Many people around the world are continuing to make their own individually designed publications that explore all kinds of subjects, from art and music to poetry and politics. Read on to learn how you can make your own zine.

How to Make a Zine

There are no rules when it comes to making a zine. It can be handmade-using paper and drawing materials-or it can be designed digitally and printed. You could even create a collage-style zine using found images from magazines. It's entirely down to the materials you feel comfortable with, as well as how you'd like your zine to look. So, grab your preferred tools and read on to learn the steps you'll need to take to make your zine a reality.

1. Decide what your zine is going to be about

The idea of self-publishing can be intimidating, but your zine doesn't have to be the next best-selling novel. They typically only contain around eight pages, so the ideal content should be short and fun. Your zine could be about your own personal experiences, or it could tell the story of someone else. Here are some zine ideas to help get your creative juices flowing:

A poetry zine

A photography zine

A comic

A short story

A collection of essays

A little cookbook full of your own recipes

A booklet of cocktail ideas

An informational zine about your favorite subject

An illustrated glossary of terms

A zine about your home country or heritage

A zine about your favorite band

A collection of your favorite quotes

An instruction manual on how to make something

The options are endless! However, if you're not into publishing something solo, why not get together with friends and brainstorm a zine idea you can make as a group?

2. What format will it have?

Zines can take on all kinds of formats, from accordion zines and stitch-bound booklets, to fold-out poster zines and online-only zines. For beginners, there are two simple formats that are super easy to craft yourself at home using printing paper: a mini, eight-page folding zine and a standard A5 booklet.

Keep in mind, if you want to create multiple zines of the same design, use a copy machine to scan and print out multiples of the original artwork.
The Eight-Page Folding Zine
This folding zine format uses just one piece of A4 paper, folded into eight rectangles with a horizontal slit down the center. Each little rectangle represents one page of your zine. Remember that the pages won't be in sequential order when they're laid out flat as one piece of paper. The front page will be on the bottom right, and the back page will be one rectangle to the right. This might sound complicated, but for an easy visual explanation, check out the folding instructions below, plus a video that shows you how it's done.
The A5 Booklet
Making a DIY booklet allows you to decide how many pages your zine will have. You can make one by combining a bunch of A4 paper and folding it in half (so that the left and right sides touch). You can also add a single page at the back of the pile of paper that acts as the front and back cover. This could be a colored page, or a thicker piece of card. For those creating a zine digitally, you can create your layout on Photoshop, InDesign, or any other digital tool you feel comfortable with. Once you're finished, print your pages out, order them, and fold them all together into a booklet. Watch the video below for a more in-depth explanation.

If you make this style of zine, you might want to bind it together at the booklet's spine. (Read on to discover how you can do this in the next section.)

Once you've decided on the format, now it's time for the fun part. Fill your blank pages with your own visuals and writing.

3. How do you want to bind it all together?

Binding your booklet together is the last step to completing your zine. For a simple, quick solution, use a long-armed stapler to staple your pages vertically down the center of the booklet. Use two to three staples to secure your pages, and if you're feeling creative, try using colored ones.

Stitch-binding is another technique that's popular among zine makers, but it takes a little more time. However, this process allows you to add a little more personality to your publication. First, fold your zine in half to make a crease and poke three holes along the fold. Use sewing thread, embroidery thread, or any other yarn that you like to thread through the holes with a simple running or saddle stitch until the pages feel secure. Check out the video below for how to create a saddle stitch.

Your zine is complete! Now it's time to share it with the world.

Related Articles:
Top 8 Art Magazine Subscriptions That Celebrate Creativity in Print 10+ Essential Art Supplies to Help You Start Drawing Your Own Comics 10 Essential Craft Supplies That Are Must-Haves for Your Studio Stash 10 Art Books That Will Nourish Your Creative Soul This Month

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How to Make a Zine: A Guide to Self-Publishing Your Own Miniature Magazine

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If you've got something to say, why not use a zine to express yourself? Learn how to make a zine at home in a few simple steps.

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Appai
IFRGS-EAD

Masterposts

free online resources from virtual museum tours to online learning

Learning

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I believe in free education, one that's available to everyone; no matter their race, gender, age, wealth, etc... This masterpost was created for every knowledge hungry individual out there. I hope it will serve you well. Enjoy!
FREE ONLINE COURSES (here are listed websites that provide huge variety of courses)

IDEAS, INSPIRATION & NEWS (websites which deliver educational content meant to entertain you and stimulate your brain)

DIY & HOW-TO'S (Don't know how to do that? Want to learn how to do it yourself? Here are some great websites.)
FREE TEXTBOOKS & E-BOOKS SCIENTIFIC ARTICLES & JOURNALS LEARN: 1. LANGUAGES 2. COMPUTER SCIENCE & PROGRAMMING 3. YOGA & MEDITATION 4. PHOTOGRAPHY & FILMMAKING 5. DRAWING & PAINTING 6. INSTRUMENTS & MUSIC THEORY 7. OTHER UNCATEGORIZED SKILLS
Please feel free to add more learning focused websites.

* There are a lot more learning websites out there, but I picked the ones that are, as far as I'm aware, completely free and in my opinion the best/ most useful.

(Source: girl-havoced)

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I believe in free education, one that's available to everyone; no matter their race, gender, age, wealth, etc... This masterpost was created for every knowledge hungry individual out there. I hope it will serve you well. Enjoy!

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Coursera: Visual Communication through zines using Scribus & Issuu.com

Udemi: The Ultimate Guide to ZINE

Domestika: Laboratório de Fanzine e Autopublicação

Skillshare: Let's Cook: Make a Zine About Food & Cooking

FutureLearn: Anarchy in the UK: A History of Punk from 1976-78

Standford online: Artist Bookmaking: Materials, Methods, and Meaning

ClassCentral

Senac

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New to zines? Check out our introduction to their history, how they reflect social change, and how they're becoming a mainstream trend - all over again.

Short for magazine - sort of a short magazine.

Zines are, at heart, independently created and published magazines that tell niche stories for niche audiences. Historically, they have been venues for the counterculture to freely share ideas. They disseminate the voice of people under oppressive rule. They are even a vehicle for hawking Kanye's new shoe. Zines are for everyone, equally.

They are one of the hottest trends right now in visual art and social media. Print and digital alike - anyone can create a zine. The independent press - both print and digital - is one humanity's greatest achievements; the free speech it facilitates is a pure form of democracy. Zines throughout the eras have expressed the social and political tensions of their times.

So, we've prepared a guide to help you follow the trend. Consider this your primer on the zine world - because after reading and seeing some examples, you may want to create your own, and we're here to help you make that happen.

https://www.instagram.com/p/BtQlSTThNdm/

History and Cultural Relevance

We can trace the zine's heritage back to colonial America. Thomas Payne's "Common Sense" was published in 1776 as a pamphlet, setting forth his arguments in favor of American independence. Revolution-era pamphlets evolved into other media and topics, helping advance issues like emancipation and women's suffrage.

Zines, as we know them today, started in the 1930s, and they were originally called fanzines or perzines. S cience fiction magazine fans created and self-published them, bringing their community together. During the '60s, zines connected members of the counterculture and shared ideas that reflected the great social and political changes of the era.

Then punk happened in the '70s, and the zine style we know exploded. With punk came DIY, torn things, and a proudly crusty disassemble-everything ethos. With the '80s and the explosion of indie labels and concert venues, zines became a way of promoting the bands' concerts and connecting the fans of these large-but-relatively-subterranean communities.

Recording labels and distributors like Homestead Records were publishing their own zines. Gerard Cosloy manned the editor-writer position there (in addition to running the label) while also publishing , a legendary underground punk and hardcore-focused publication that still pops its head up from time to time.

The publication Factsheet Five published reviews of zines through open submission, from which a network of "zinesters" was developed. The 1990s brought about the riot grrrl era, from which " girl zines " arose. That's how we get to where we are now.

The proliferation of zine culture has yielded such unifying and defining documents that almost every major university, in the USA and acround the world, has a library of zines.

The Comeback - or Zines in the Social Media Era

Heavily leaning on the principles of collage, and largely influenced by the use of the photocopier (in earlier decades), zines are still loyal to paper cutouts and noise and grain textures with rough-edged layers. The style is uniquely undesigned; it is a raw look that stands out in a polished digital world.

Today, social media has given this art form its most unprecedented connectivity to date - a new home and a new audience in the digital age. This audience is limited only by its particular subject matter, not access to the physical copies themselves.

As far as digital zines go, production cost reduces to - essentially - someone's time. Plasma Dolphin, Pop Culture Puke, , and all have major readerships, and they are polished but still maintain the DIY aesthetic. Many social media accounts now do the work Factsheet Five did in the past.

In politically divisive and socially concerning times, the zine is perfect for sharing so many voices. Social causes like modern feminism in film and Black Lives Matter produce a breadth of zine offerings. Any cause is likely to have a zine genre dedicated to it.

A zine produced today has the chance to reach anyone with an internet connection, anywhere around the world. We no longer have to count the coins in our change jars to see how many copies we can print off.

https://www.instagram.com/p/Bs_o20jgBSX/

If you're a human with ideas or interests, chances are fairly great that there are several other humans sharing these ideas in a zine - from silly shower thoughts to discussing the most serious existential threats. Since the internet made communication generally easier, online zines can facilitate any voice - even those without platforms or coding experience. Social media-made platforms are available to nearly everyone.

Zines in a Local Arts Collective Context

We can see that zines unite distant fans with shared interests, but they can be community projects, too, connecting people not only through shared interests but also by bringing them together to actually create zines in real time.

Based in Denton, TX, Spiderweb Salon is an arts collective providing a hub for those who may not otherwise share their creations. As a nourishing, collaborative, inclusive club free to all comers, it is a valuable community service that embraces weirdos and closet artists, writers, and musicians. Among many social and socially conscious offerings, they facilitate live events, like poetry readings and musical performances.

To bring non-performance-minded creative people together, they created around 40 zines in the last six and half years, which nurtured the curation of zines from outside the collective. Their leader, Courtney Marie, shared its library with us for a look inside.

I asked Marie about introducing zines into Spiderweb's curriculum.

We started making zines to incorporate more people into the collective, because there are people who don't want to be on stage, but they're still producing, still writing, still drawing. Giving those people a chance to be a part of things as well was important to us.

The first zine project they undertook was bringing writers and artists together.

Around 30 or so people participated, and we paired an artist with a writer. They had to meet each other, talk, and figure out what their zine was about and actually produce it - the results were really great.

They also conduct regular zine workshops.

The zine workshops are how we incorporate new people into the collective. If you show up to one of those, you get to meet the people who are constantly doing stuff, and it's low-key; you don't have to talk to a lot of people if you're shy. You can observe and work on stuff.

What started as an open, five-hour workshop became a regularly scheduled project, with themes laid out beforehand.

We'll do that so new people can know who the regulars are, everyone knows the theme, and people are more encouraged to interact, instead of coming and going.

Spiderweb Salon also produces themed zines.

The last one was called the Book of Shadows, which was our magic zine. That was the first scheduled start time, with people showing up on time and introducing themselves. I just asked them to talk about what magic means to us, even if you're not a witch or anything. There are things we still see as magic. Some things like magic people in our lives, people who can change a room or how you feel. Our daily rituals, which keep us sane, which are their own forms of magic. Like waking up and putting on the coffee.

Stores that sell zines are major hubs for this culture. These are places where people can send their zine, and it will be displayed and made available to others.

My almighty, holy grail of zine shops is Quimby's in Chicago. It's a massive store. They sell our zines and have stuff from all over the world. The great thing about zines is that they're super accessible, and like $2 to maybe $10. They're cheap and a good way to disperse information.

Marie closed with mention of the social side of zine production.

We did a series of small zines to dispense for protests. Basically, a 'How to Protest' - things you should be aware of when you're going into a protest situation. We did one for Black Lives Matter, so if you want to be an ally you know how to do that appropriately. We've done a lot of political how-to zines to educate people. One of those small informational zines costs 3¢ to copy; so you just fold them up and pass out the stack to a crowd.

What Do You Want to Say?

Zine culture is once again a robust, vigorous, lively movement that showcases the importance of individual voices - a sort of Original Internet. Zine producers now use the actual internet to reach farther and faster than ever before. The more handmade their creations look, the better. This is a direct line to the person behind the creation, and no editor can dampen your enthusiasm or conceptual wordplay - much less the subject matter.

Whether you have some old recipes to share with like-minded home chefs, or you want to change the world with fiery words and eye-catching imagery, you can find an audience (as well as some peers) with just a little work. The only limits are imagination and motivation. Don't hem yourself in - consider other media you can work with to share your message. People with little to no money can go to the local library and share their digital zines, use the #zine hashtag, and see how far it goes into the ether. You'll never know what your creativity sparks in someone else who didn't know they were looking for it.
Zine photos and cover image by the author.
For more insights and trends, check these out:

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Design Trends: An Introduction to the Return of Zine Culture

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Short for magazine - sort of a short magazine. Zines are, at heart, independently created and published magazines that tell niche stories for niche audiences. Historically, they have been venues for the counterculture to freely share ideas. They disseminate the voice of people under oppressive rule.

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Online Writing Tools
750Words
Typewriter
CalmlyWriter
GoogleDocs
Hemingway app ($)

Online Fanfic Publishing Hubs
Fanfiction.net
Wattpad
Spirit
Archive of our own

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Online background noise
I miss my café
Ambient Mixer
Life at Virtual Spaces

Online relaxing sites
Ride&Listen
WindowSwap
City Walks
Radio Garden
Walk in a Forest

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Online sequencer
Google music lab
Online Audio Converter
Clara Rockmore’s 105th Birthday
Celebrating Johann Sebastian Bach

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Arquivo Nacional do Brasil
British Library
MET Open Access Collection
David Rumsey map collection
Unsplash and @Juupiter
ShutterStock
FreeClassicImages.com
Wellcome Collection
Heritage Library
CGSpread
British Library Flickr

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Library genesis
Z-Library
Project Gutenberg
Lelivros e Docero e eLivros
Domínio Público
OpenLibrary (Internet Archive)
Biblioteca Digital Gratuita de São Paulo
PDFDrive
Novel80
Yes-PDF
Anna's Archive

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Jitter
Adobe Sparks
Rotato

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Figma
MMM.Page
Google Sites
Wix
Wordpress
Squarespace
Carrd
Canva

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-Adobe (Fresco, Illustrator, Photoshop)
-Gimp
-Krita
-Inkscape
-Autodesk Sketchbook
-Clip Studio Paint
- Paint Tool SAI
-Paintstorm Studio
-Medibang Paint Pro
-Corel Painter 2021
Source: ???
GauGAN

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Atalhos do Teclado
Ferramentas

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€ŞĆŘ€VΔ ΔŞŞIΜ ĆØΜ 38 ØPĆØ€Ş Đ€ 𝕷𝖊𝖙𝖗𝖆𝖘 𝕭𝖔𝖓𝖎𝖙𝖆𝖘, 𝔻𝕚𝕗𝕖𝕣𝕖𝕟𝕥𝕖𝕤 𝒆 𝑷𝒆𝒓𝒔𝒐𝒏𝒂𝒍𝒊𝒛𝒂𝒅𝒂𝒔. 🅶🅴🆁🅰🅳🅾🆁 🅳🅴 🅻🅴🆃🆁🅰🆂 𝓅𝒶𝓇𝒶 𝓃𝒾𝒸𝓀𝓈 𝓅𝒶𝓇𝒶 𝒸𝑜𝓅𝒾𝒶𝓇 𝚎 𝚙𝚎𝚛𝚜𝚘𝚗𝚊𝚕𝚒𝚣𝚊𝚛 𝚙𝚎𝚛𝚏𝚒𝚕, muitas fontes de letras e conversor. 🅝🅘🅒🅚🅢 🅟🅐🅡🅐 Free Fire, FF, Fortnite, PUBG, TikTok, Whatsapp. 🇱 🇪 🇹 🇷 🇦 🇦 🇿 🇺 🇱 . ღ ♥ ♡ ✿ ✱ ♫

Curiosidades:
O Facebook tem 1 bilhão e 370 milhões de usuários ativos diariamente, destes 92% usam o aplicativo ou a versão mobile do site. Por mês o Facebook tem 1 bilhão e 940 milhões de usuários ativos, 85% fora dos Estados Unidos. As páginas relacionadas ao Brasil que têm a maior quantidade de fãs são: Neymar Jr com 60 milhões, Cifras com 40 milhões, Ronaldinho Gaúcho com 34 milhões, Kaká com 31 milhões e Paulo Coelho com 29 milhões.

O Twitter tem 313 milhões de usuários ativos por mês, 82% dos usuários via aplicativo mobile. No Twitter são enviados 500 milhões de Tweets por dia. Os usuários relacionados com o Brasil que possuem a maior quantidade de seguidores são: Neymar Jr com 37 milhões, Kaká com 29 milhões, Ronaldinho Gaúcho com 17 milhões, Ivete Sangalo com 16 milhões e Danilo Gentili com 16 milhões.

O Youtube tem mais de 1 bilhão de usuários. Mais da metade das visualizações de vídeos são feitas em dispositivos móveis. No Brasil, as maiores audiências são dos canais: FunToyz Collector com 13,6 bilhões de visualizações, KondZilla com 12,6 bilhões de visualizações, Galinha Pintadinha com 7,2 bilhões de visualizações, Turma da Mônica com 5,4 bilhões de visualizações e Rezende Evil com 5,3 bilhões de visualizações.

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нαρρу ⓛⓞⓥⓔ Letras Diferentes e Bonitas para Facebook, Instagram, Whatsapp, status, copiar

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คЪcdεƒgн¡jкłмหσpqяรтuvωxყz ΔβĆĐ€₣ǤĦƗĴҜŁΜŇØРΩŘŞŦỮVŴЖ¥Ž

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Faísca
Banca Tatuí
Ugra Press

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User's Guide- Toolbox Overview
User's Guide- Master Pages (and video course)
User's Guide- Text Wrap
User's Guide-Threading Text
User's Guide-Generate QR-Codes
User's Guide-Create Table of Contents
User's Guide-Buttons
Quickly Design with touch and Gestures
more
even more

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Published on

1. 1. Idea Development

2. 2. Mood Board Analysis: The first mood board I have made is a collection of images, fonts and colours that I plan to use for the first section of my fanzine. The first section will be for the 80s era of hip hop. I have tried to include bright and vibrant colours to imitate an 80s colour scheme. I want to make the reader feel like they are in this period of hip hop. The images I have chosen are pictures of the artists, clothing style and album covers from that era. These are items that I plan to write about within my fanzine. I can also gain some inspiration from these images because they can provide a colour scheme. The fonts I have chosen are 80s style fonts. These fonts are clean, neat and have no rough edges. They do not look violent and I believe they represent having a good time which is what some of the hip hop in the 80s was about. The brush/handwritten font that I have chosen is slightly more mean and "street" looking but this does represent the music of that album which is the mean reality of their lives on the streets. The colour scheme that I have chosen includes the main colours used on design products such as red, white and blank. I have selected the colour red on my mood board because it is a useful design feature as it stands out to audiences. It can also reflect main themes of the music genre hip hop such as love, hate, anger and passion. The colour white is a popular colour to use because it can balance out any dark colours but then compliments them at the same time.

3. 3. Mood Board Analysis:Mood Board Analysis: The second mood board I have made is made for the second section of my fanzine which is the 90s era of hip hop. Although it is the same genre of music, there are many differences in colours, fonts and styles. For example, the fonts look more defined and the styles of photos have changed on the albums. They appear more serious and more street like. I have also used the website AdobeColourCC.com to collect a range of colours and colour schemes that have been influenced by album cover art and clothing from the 90s. The main colours that I selected from the website included red, black and white. These colours are important because red stands out to the audience whilst representing main themes of this music genre such as love, anger and passion. Black works as a background colour and can be used as an outline colour to text. This colour adds depth and can be used on any product. The colour white is similar to the colour black because it can also be used effectively in backgrounds and text. These two colours stand out but aren't very vibrant so they may become boring if one of my main colour schemes is black and white. Finally, I have collected some images of hip hop clothing from the 90s. As I plan to make a page on clothing styles then I need some inspiration for these pages.

4. 5. Mood Board Analysis:Mood Board Analysis:Mood Board Analysis: This mood board is designed for the third section of my fanzine. This mood board focuses on the 00s era of hip hop. I have included images of colours, clothing styles, album covers and fonts. The colours that I have picked are red, white and black. These are very important colours for this era of hip hop as many album covers are made up of these colours. I have already discussed in previous slides what these colours represent and how they are useful from a design point of view. The images of clothing styles are to show and reflect the types of people that hip hop is mainly aimed at also what the mood of hip hop is. The album covers I have chosen are some of the most popular albums from this time period. I have included these images within my mood board because they show how all the fonts, colours and image styles can work together to produce something that looks professional but also appealing to the target audience. The final asset of this mood board is the fonts that I have chosen. These fonts are aesthetic but are also reflective of the music. For example, the rough edges of a font could represent the rough experiences the artist has had during their life.

5. 6. Pagination: Page 1 - Introductory page. The first page that I plan to make is a page telling the reader about the contents of the fanzine. It will give the reader a brief overview of each section of the fanzine and also tell the reader what page the contents are on. Page 2 - Title page On this page, I will design a title for the first section of the fanzine which is the 80s era of hip hop. I plan to have images of the main artists made into a collage and then have that as the background. I will then choose an 80s style hip hop font and make that cover the page. 80s The grid represents where the images will go. The text will be obvious. I plan to make the images in the background slightly opaque so the title sticks out. INTRODUCTION CONTENTS TITLE

6. 7. Pagination: Page 3 - 80s era first page. On the first page of the 80s section, I will list the best rappers of that era and also the best albums. I will then give some background information on that era. I will also include a lot of images. Page 4 - 80s era second page. On the second page of the 80s section, I will get a picture of clothing or a popular album and talk about it. LIST OF RAPPERS AND ALBUMS BG INFO BG INFO IMAGE IMAGE DISCUSSION IMAGE OF ALBUM

7. 8. Pagination: Page 5 - double page spread. This is a double page spread where I will make a list of my favourite hip hop albums and rappers and give background information on both of these subjects. These pages will also contain an interview. Page 6 - double page spread.

8. 9. Pagination: Page 7 - title page. This page will be the same as the 80s title page but with different artists and a different font that represents hip hop in the 1990s. Page 8 - 90s era first page. I will be following the same structure as I plan to within the 80s section. It will include background information, the best rappers of that era and then images to balance out the text/images ratio. 90s LIST OF RAPPERS AND ALBUMS BG INFO BG INFO IMAGE IMAGE

9. 10. Pagination: Page 9 - 90s era second page. On the second page, I will cover some main events of hip hop in the 90s such as the deaths of Biggie, 2Pac, Eazy E and Big L, Eazy E and Dr Dre beef and the whole East side vs West side situation. Page 10 -title page. Once again, I will be following the same layout as the 80s and 90s title page by having images of artists in the background and then having the text; "00s" in a 00s style font. 00s 2PAC Biggie Eazy E Big L Eazy E - Dr Dre East vs West

10. 11. Pagination: Page 11 - 00s first page. This will continue the structure from before. The best rappers and albums of that era and then background information on that era. Then I will have some images of of the rappers. Page 12 - 00s second page.. On this page, I will also be covering/summarising the main events of hip throughout the 00s such as the death of Proof, Eminem and Ja Rule beef etc. LIST OF RAPPERS AND ALBUMS BG INFO IMAGE BG INFOIMAGE Tribute to Proof Eminem vs Ja Rule 50 vs Murder Inc IMAG E

11. 12. Pagination: Front page. The front cover will probably have a graphic Back page. The back page IMAGE IMAGE

12. 13. Production schedule: You have 3 weeks to complete your book along with any improvements. You need to plan this. What will you be doing each week? How long should you spend on each task? How will you know if you are head or behind schedule? * I am trying to make a page every 2 lessons. This will leave me with about 3 to 4 lessons to improve on the pages I have created. * I will write out my copy first as I can then just paste it into the designated spaces I create for my text. * I will pick out my images before hand so that I don't waste production time searching for images.

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Published on 1. Idea Development 2. Mood Board Analysis: The first mood board I have made is a collection of images, fonts and colours that I plan to use for the first section of my fanzine. The first section will be for the 80s era of hip hop.