Twenty twelve is almost here and, we, at the Brooklyn Zine Fest are wondering if you have any zine-related aspirations you'd like to put into action this upcoming year.

Is there a new project you've been meaning to work on but have been postponing until you have more time? (Hint: Start one weekend at a time.)

Are there stacks of zines you've been wanting to read or re-organize?

Maybe you've just been itching to be more creative in general--draw, write, paint, brainstorm.

This is the year. Let's make things happen!

Daniel Stettner is a visual artist residing in Richmond, VA.

Much of your work involves digitally manipulated images of vanity.  How is the Internet changing the way we see ourselves and each other?

At any given moment, hundreds of thousands of high school girls are simultaneously browsing their own profile pictures, checking their tweets, shopping on Amazon, playing Angry Birds, charging their tablets, updating their statuses, and talking to Siri. Twenty-first century technology and the Internet allows for a constant stream of information that can be accessed from any time and any place. The entire planet is constantly plugged into a network that brings people together and alienates them all at the same time. Wikipedia has a pretty good definition of hyper-reality.

On the other hand, you also photograph 35mm with a Minolta SR-1, and make print zines.  What can you accomplish with analog that you can't with digital?

Film photography, much like drawing or painting, is a refreshing break from the automation of computers and digital cameras. Waiting on film to be developed is a much more fulfilling experience in my opinion than being able to check your photos immediately. Being denied of instantaneous gratification is wholly more rewarding in an era of immediacy.

Have you read or looked at anything great recently?

Travis Egedy (aka Pictureplane) recently released issue 1 of his zine, "Techno Fetish." It's filled with all sorts of 21st century Dada goodness and is definitely worth a peep. Other than that, in the past few months I've been really obsessed with collages by Wilfred Satty, so I've been trying to grab his prints whenever I find them.
 
What do you love about the zine community in Richmond?

From what I've seen, the Richmond zine community really embodies the DIY aesthetic that zines are so well known for. Independent writers, artists, and distros actually encourage their readers to photocopy and pass their zines along, valuing teaching and sharing over exposure and respect. Crustpunks have a heart of gold.

The Barnard Zine Library collects zines written by women (cis- and transgender) with an emphasis on works by women of color. The zines are personal and political publications on activism, anarchism, body image, third wave feminism, gender, parenting, queer community, riot grrrl, sexual assault, trans experience, and other topics.

Barnard is a women's college affiliated with Columbia University.

 The Barnard Zine Library concentrates on marginalized voices and subjects. What is the importance of zines in making those voices heard?

We try to get these voices out there to a wider audience because a lot of times they can act as entry points for greater discussion. Being at a women’s college and focusing just on zines by girls and women, for instance, allows us to explore these often over-generalized groups in a nuanced way. We get a lot of zines looking at the intersections of identities and a lot about breaking societal expectations, whether that’s in your identity group (e.g., mixed race, queer femme) or in society as a whole.

People can get exposed to these ideas and, as I have, take them as a form of comfort that they are not alone in their thoughts and it can push them to bring those ideas out of the zine library and into their dorm rooms, into their classes, and into their daily lives.

What kind of response have you received?

I think we have generally been well accepted, and sometimes enthusiastically so. There’s always an underlying question of “why zines?” in keeping up an archive of this material. People either think zines have gone out because of the Internet or that they’re too contemporary to be of any real value.

But zines are not dead, just evolving. For instance, we just hosted an event in collaboration with the POC Zine Project and For the Birds Collective called Meet Me at the Race Riot: People of Color in Zines from 1990 to the Present (video) that boasted attendance of 80-100 people. The message from that event is that interest in zines is alive and well, and no longer confined to singular exchanges between zinesters. There is a larger energy around zines as a method of self-expression that continues to make people want to reach out and want to create, and our library helps people to be introduced to many ways of doing that.

Have you ever stumbled upon something surprising in Barnard's zine collection?

"Surprising" is such a relative term for me now - it’s hard to think about what would throw me for a loop in our collection. I guess I’m always surprised by the younger authors in the collection, like the 4-year-old children making zines with their parents and the 14-year-old comic book artist who has already used her zines to win awards (jealous!).

These are surprising, I think, because my view of how people get into zines is a bit ageist/stereotypical - it involves angsty teenagers and misunderstood academics who are frustrated by the system and thus they start writing out their thoughts in zine form. It’s refreshing to see that people can get into zines from such an early age and have a completely different relationship to them than I have or that other zinesters I know have.

Zines are generally handmade and susceptible to wear. What goes into preserving Barnard's collection?

The Barnard zine collection is split into two parts: the archive and the library stacks. We try to get two copies of each zine so that we have a copy in both locations (though sometimes that doesn’t work out depending on where the zines are sourced from). In the archive, the zines are not handled very often and are put acid-free boxes in a room that is a little dungeon-esque in that it is in the basement, but it is a climate-controlled environment, which is what's important.

The stacks copies are a little more wanton because people handle them all the time and check them out. They're even mailed out for interlibrary loan, but they are generally respected as one would respect a book in the library. The smaller zines are also put in comic book bags with a cardstock backing to keep them from being lost or falling apart.

How has your job, and the material you work with, inspired your own projects?

I have drawn inspiration from all the different ways zines are put together - when I was starting out, my zines were stapled booklets, but now I’ve gotten really interested in how to make folded no-staple zines and sewing zines in order to bind them, et cetera. There’s really a great range in our collection.

Also, I think that the content of these zines provokes me to be more daring with my own content; while we don’t share the same stories, sometimes the themes that are in the zines are provocative enough to make me think, “Hey, why don’t I try writing about fatphobia / childhood / being a queer person / race / arts and crafts / nerdiness?” It’s very eye-opening to see how many different stories there are to be told and in how many different ways they can be expressed

What can people expect to find on your table at the Brooklyn Zine Fest?

They can find the Barnard Zine Library Zine, which is an overview of our collection materials, where we are, and how we work. They will also find Sticks and Stones, which is the Barnard Zine Club’s series of zines, as well as Cite This Zine (pdf), and works by the zine librarian and student workers.

Answers provided by Jordan Alam (Zine Assistant, Barnard '14) and edited lightly by Zine Librarian Jenna Freedman.

Brooklyn Zine Fest 2012 tabler Aijung Kim (of Firefly Blind Press) was recently featured in Style Weekly, an alternative news, culture, and events paper in Richmond, VA.  Writer Martha Steger had taken a zine-making class taught by Aijung and was inspired to write about the experience.  The resulting article is an extensive feature about Aijung's artwork, writing, and creative process, and can serve as inspiration for anyone who makes (or is interested in making) zines and other personal works.

See the full article here.

If you have any zine-related news items you'd like us to share, please e-mail us at brooklynzinefest@gmail.com.

Once Upon a Distro is a brand new project distributing stories by people sidelined by other forms of media. Sarah Rose focuses on spotlighting personal zines by queers, POCs, and older people by hosting zine workshops and publishing zines, and then making them available to a wider public at tabling events and on the internet.

Once Upon a Distro is a new project.  What challenges have you faced in getting a zine distro off the ground?

Shockingly, it's been a pretty smooth process. I have had the idea of a distro rattling around in my brain for awhile, and I've been doing zines for a very long time, so some of the logistics were already taken care of in that respect. A lot of really technical stuff about putting together a website with a shopping cart was pretty tricky too. Time and money are always a concern. And, as with any new project, there's a lot of new stuff to learn through trial and error.

What will Once Upon a Distro have on offer at the Brooklyn Zine Fest?

A fair assortment! The website won't be open for buying and selling stuff until January, but so far we have a pretty broad range of zines, some music, movies, spoken word, posters, stickers, and postcards. So, I hope there will be something everyone can find an interest in.

You were a co-organizer of the Philly Zine Fest, which was just held in November 2011.  Any advice for someone thinking about starting a zine fest in their city?

Do it! Find a cheap venue, enlist some friends to help, delegate and organize. Ask other coordinators/planners what has worked in the past for them, and use those ideas. Hold readings and workshops to fund raise and get the word out. Ask rad local businesses to sponsor you. Invite everyone!

What do you do when you're not publishing, organizing, or distributing zines/events?

I make balloon animals and do facepainting for a living (www.ballonsbysarah.com), do shifts at Wooden Shoe Books and do GLBTQ peer counseling once a week at the William Way Center. I like to read zines and comics too. 

Is there anything you’re planning/hoping to do while in Brooklyn?

My partner's family lives in Brooklyn, so I assume we'll get rowdy with the in-laws over some amazing Italian food.

L. Nichols makes a variety of comics and zines with topics and styles ranging from autobiography to poetry to abstraction.

You recently painted all the signage and murals for the Cafe de La Esquina in Williamsburg.  What are some of your other favorite spots in the neighborhood?

In Williamsburg I love Fette Sau and DuMont Burger. Blue Bottle Coffee is also wonderful. Non-food, I love Spoonbill and Sugartown Booksellers. Every time I'm in the neighborhood I find myself wandering in there for a browse. I have two longboards from Bustin Boards and can't recommend them highly enough if you're into (or curious about) skating. Desert Island [ed. note: a BZF 2012 Exhibitor] is my comics choice for this area and is a must-see if you're into zines/comics/art/etc.

Zines are small, portable, and personal; how does this intimate scale compare to working on something so huge, permanent, and communal?

The work I did with La Esquina is the largest I've ever done. It was challenging, but I found it easy to shift to working on this larger scale is because of the nature of it. There is something very intimate about sitting in a room with a large piece of art and hand-painted signs while eating dinner. All of these personal details really add to the experience of a place.  They want diners to have a unique experience, and that is what I care about, too.

My studies in mechanical engineering built up the proper mindset for scaling up. I was trained to prototype, experiment, and expand. I also learned that when working on large projects, you should set milestones and goals to work towards. This is the same mindset I use in all my projects, regardless of scale.

How do you usually find other zines that interest you?

Every time I go to a new show, I try to take my time and walk around to really see what's there. I learn about new things from my friends, from new people I meet. Really, it's about the people for me. Sometimes it takes me a while, though, because I'm pretty shy at actually introducing myself to new people.

Has anyone had an especially memorable reaction to one of your zines?

There was a really sweet person who came up to me at the Brooklyn Comics and Graphics Fest who had found my stuff at Desert Island and was excited to get more. That totally made my day.

Generally, I'm just excited when people seem to genuinely respond to my work. I feel like I put so much of myself into it.

Where else in the borough do you like to go?

In Red Hook (where I live), I'm a huge fan of food and drinks at both the Ice House and Fort Defiance. Fort Defiance has my favorite cocktails. The Good Fork is also a great place to eat here. Homemade has a cozy brunch. There are quite a few cute stores on Van Brunt St. - Tiburon, Foxy and Winston, Erie Basin, Metal and Thread. I have some art up for sale at Waterfront Kitchens. It's such a neighborhood-y place! I love it here. If you're visiting in the summertime, be sure to stop by the Red Hook food trucks! They're worth the visit.

Other places in Brooklyn I love: Gen on Washington has my favorite sushi. 718 Cyclery does wonderful bike work and are super lovely people. Bergen Street Comics is my favorite comics place to visit nearby. Brooklyn Boulders is where I spend most of my Tuesday and Thursday mornings.

What would you say to anyone who has never read or created a zine?

I'd say you're missing out! Zines are an incredible way to find deeper personal connections.

Zine of the Month is a project started in 2009 to release limited edition and handmade artist zines.  Each month a new zine is printed and produced by Mark Price and friends.  Year and six-month subscriptions are available at www.ZineoftheMonth.com.

What inspired you to create the Zine of the Month club?

I started Zine of the Month in 2009 to be able to collaborate with friends and other Philadelphia based artists whose work I really enjoyed.  Being a part of Space 1026 I would always get to see new 'zine efforts coming hot off the print rack from the likes of Andrew Jeffery Wright, Isaac Lin, Bonnie Brenda Scott, Jason Hsu, Chris Kline, Crystal Stokowski, Dan Murphy, Joanna Quigley, Alex Lukas, Bill McRight, Lance Simmons, and many others. They are my favorites!  We always had tons of paper and ink up for grabs in the print shop... so I just kept on printing.

In your opinion, in the age of digitalization, why are zines important?

Zines exist as residue from another recent age.  Exploiting the possibilities of the digital to becoming again physical is a nice trick.  The format is a compact that can unfold and the images that it holds reflect light.  This is important for our eyes.  Instead of light being transmitted through a screen, back lit as it were, it reflects light off the page to "show a real way to see a good image of life."

An ongoing series of Q&A segments with Brooklyn Zine Fest 2012 exhibitors.

Paper Rocket is a minicomics publishing house. Robyn Chapman is its publisher, editor and designer (in truth, she is its only staff member). Paper Rocket strives to publish minicomics that can be both read and treasured, and which are hand-crafted yet affordable. Titles include This Isn’t Working: Comics About Ex-Boyfriends, Make: Comics About an Intimate Act, and Hey, 4-Eyes!

Hey, 4-Eyes! contains a mix of educational material, interviews, and comics. Are there any non-fiction/educational zines that inspire you?

1-UP MegaZine was a major inspiration. Raina Lee's creative approach to the material combined with John Pham's superb design skills made for the perfect zine. The content and design both really embraced their theme, and that's something I look for in a zine. It's a little gem. 

Let's be brief: Make is about poop. How do zines allow for sharing thoughts or experiences that might be too embarrassing for another format?

Making zines is a personal act. We labor on these books for hours, alone. We make them in small batch, by hand. Once we're done we share them with friends. We're not making any money. It only makes sense to tell personal stories.

What is the most challenging aspect of making a collaborative zine? The most rewarding?

Challenging: The managerial tasks of an editor don't come easy to me. I tend to stress out. There is a lot of pressure when you're responsible for other people's work. But the pressure can be good too. I've found I need it to get the job done. My collaborative projects have always been more successful than my independent ones.

Rewarding: The book is its own reward. Though I'm especially proud when a contributor produces amazing work I hadn't imagined or expected. It feels good to know you helped bring that into the world. Steve Bissette calls this being the "midwife". We didn't make that work, we don't own it. But we did help birth it.

Have you found any great zines lately?

I came across No More Coffee #3, and I really liked it. I was drawn to how the author used a coffee cup ring as a print making device. And I always read Drop Target, the pinball zine. Alec and Jon's enthusiasm is palpable and I learn a lot from their articles.

There are so many great minicomics out there, it's hard to choose one. I just picked up Chuck Forsman's The End of the Fucking World, and it was fucking amazing. That guy is going places!

Tell us about your favorite place in Brooklyn.

My studio, Bridge Club, is located in South Williamsburg. I share it with my cartooning buddies Karen Sneider and Joan Reilly. I have a nice screen printing set-up and little space to draw and write. But it's not all business, we also play D&D and watch nerd TV shows starring knights, time travelers, or vampires. It's a clubhouse for grown-ups.

If you've been putting off your application to exhibit at the Brooklyn Zine Fest 2012, you may want to stop whatever you're doing and submit it now.  More than three quarters of our tables have been reserved, with 37 confirmed exhibitors and another ten in process.  Don't miss your chance!  Click on the Registration tab at the top of the page.

An ongoing series of Q&A segments with Brooklyn Zine Fest exhibitors.

Lale Westvind makes loud, kinetic comics and animations out of frantic lines and inky blobs.  Sweaty fistfights between bulky, stippled subhumans and rubbery kinetic whack-jobs.  Vehicular beings in psychedelic swamps and desert-scapes fraught with galactic misfortune.  Sometimes in Technicolor, always with gusto.  Chromazoid is Lale's new full color comics and mix tape anthology, set to melt eyeballs and squeeze ears.

In an age of digitalization, why are zines important?

While we're being bombarded by digital visuals, it’s nice to have some paper ephemera in your pocket to hold onto.  You can take a break from staring at electric light screens.

Zines can't be deleted or turned off; they hang around waiting to be seen. Someone else might pick one up if you drop it. I have friends who like to hide zines all over their cities for people to find. If someone ever pulls the master plug, we'll have all these zines to read, and to burn for warmth, and they'll come in useful when all the toilet paper and moss is gone.

In a few sentences, describe the zines you create or publish.

I make comics; I write them and draw them and put them together. I collect ideas and doodles on scraps of paper and then figure out what world they're coming from. The characters are all different parts of myself, duking it out with each other while they stumble around bewildered.

How do you usually find other zines that interest you?

There are often so many of them in the same place, at a shop or an expo. If it has a funny title or an awesome cover then I have to take a look. I love Quimby's Books in Chicago. 

Has anyone had an especially memorable reaction to one of your zines?

It's always memorable whenever somebody likes what you're doing. Recently a couple of long haired teens with skateboards called my comics "awesome" and I turned red as an... apple?

Chromazoid is a comic as well as a mix tape.  What are some of the challenges and rewards of working in mixed media?

Chromazoid is an experiment. We wanted the music to be related to the comics, so we had to wait until the comics were finished before sending copies out to the bands for inspiration. But I'm still thinking of other ways to integrate the two formats without having to listen while reading. Silence can be part of the power of comics, or of any reading material for that matter.

We also put the soundtrack on tape. Some people don't have tape players anymore, but why not? They cost half as much and seem more archival than CDs. And they fit in your pocket... just like a zine!