My previous research on zine culture has showed me that early zines were produced using a photocopier, adding to their DIY aesthetic. I also found how later zines were produced using a Risograph printer as publications can be produced fast and efficiently. As my book layout is based on the experimental placement of content seen in 1970's punk zines, I also wanted the printing method to be consistent with how the original publications were produced.
Research and experimentation with Risograph for my WYS development (see PPP) has meant I know I would be able to produce this zine at the tetley for little money however, the machine there is unpredictable and there is no black ink so green, red or blue will have to be used.
I also decided to look into whether Footprint would be able to produce my zine using Risograph. The prices on the website showed that the more I want to produce, the cheaper it would be; as it often is when printing Risograph. Despite almost deciding to print my project at Footprint, I decided that the handmade ideas behind punk zines, used as inspiration for much of this project, should also be followed when printing the final outcome. Because of this, I have decided to print the publication using a photocopier. This will still enable me to produce a larger quantity of zines quickly and cheaply, however the will have more of a personal touch, similar to the zines seen in my previous research.
Below shows the final layout chosen for this publication. getting the layout right meant having to look over it as many times as it was necessary to produce a layout that was suitable to represent punk culture in a contempary way.
I wanted the front cover colour choice to be relevant within punk cover yet ambiguous, in the hope it will help attract a more varied audience, again linking to my target audience. To help inform this, I looked to a quote from Viv Albertine, the guitarist from The Slits who wrote on the colour of punk clothing quoting:
“There’s lots of black, splashes of pink, silver and red. I love all the different textures: rubber, leather, mohair, zips and fraying edges. You can’t wear brown. It’s the most reviled colour. Acceptable colours are black, white, red, shocking pink, fluorescent yellow or green (almost impossible to find anything in London in these colours), tartan, anything bold. Pastels are weak, unless you wear them ironically or in a contrasting fabric like rubber. Grey is for old people and suits. As for beige, you may as well be dead.”
I experimented with a handful of colours, directed by the quote above and chose bright pink as felt this isn't a colour people would normally associated with punk giving me the opportunity to attract more of my target audience.
After experimenting with colour on the front cover, I felt adding interest in the design would be more appropriate for my target audience. To do this, I decided to change the name of the zine to "Knup". The original idea behind spelling punk backwards was to show how the content re-imagines the zines seen in research in a new, more ambiguous way. This is still relevant within this part of the design process so will be used within the final outcomes. I experimented with how this could look on the final cover.
The typesetting seen on the left was chosen for my zine. I looked at using the other ideas in my mockups (seen below) but the design used worked best to hint the contents without being entirely obvious.
Before printing the final zines I created mockups using an inkjet printer to check the pagination was correct and I was happy with the layout. The first mockup is seen below and was printed when my indesign document contained pink covers and forgot to remove them.
The second mock-up I produced was more similar to the final outcomes. The WYS logo that was previously on the back will no longer be printed as we have decided to use the stamp bought for the WYS identity to show it was produced by us. The layout was also changed slightly as I found the printed zine helped to show inconsistencies that weren't as visible on the screen.
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