Personally, I found the process of handling these materials to be frustrating because of how hard I tried to make the sample zine presentable and not look like it was the first time I had ever used materials like this to make my first ever codex book. I know I’m a creative person, but this is not really my kind of creativity, so it was hard to follow instructions closely enough so that it looked presentable. However, I do feel that it is important to directly engage with the material objects that compose of a book because it reminds me of how much work actually goes into the production of making a singular book, and then when I think of how much work it took to make just this one sample, it caused me to have an even bigger respect for the production of the codex that were made pre-mass production technology. Of course I still have respect for production of the codex in the modern era and feel the physical form is essential for a full experience, but the hands on approach of creating a codex “book” made me think of the hassle bookmakers were tasked to endure in their careers, and how they would have to go through the process for multiple editions. Because of this, I think people are driven to make Zines because it places them in the shoes of bookmakers in the past and deepens their love for books, and returns them to a specific sort of intimacy between a book and the bookmaker who has to physically take time to craft the book.
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Hey Allison
I like your overview of zines. I feel the creative aspect of how zines there a deep sense that Zines are more connected to how post-books were generally crafted by hands and tools made from the earth. The steps to me seem pretty chill, and honestly, a comment that I firmly like was when you mentioned, ” I think people are driven to make Zines because it places them in the shoes of bookmakers in the past and deepens their love for books.” I agree with this because when I start crafting my zine, it will naturally feel like I am preparing my own, but it makes everyone feel that way.
Hi,
I believe that I’m a creative person too so when there’s anything that has to do with creative and being artsy, I become a perfectionist. So practice makes perfect! If you try to make a Zine again, and continue with working with the materials, you’ll get it in no time. I also agree with you, that it is important to directly engage with the material objects that compose of a book because it reminds me of how much work actually goes into the production of making a book. There’s a new sense of appreciation when you see all the work that gets put into it.
Hi Allison,
I believe that trying to make Zine multiple times will makes it easier as you go along. You will be glad when you see your creativity. It’s like being your own publisher in a sense. I believe bookmakers in ancient times had to work really hard to produce multiple prints of books. Engaging with the objects and materials in making Zine put that personal effect in creating something that you can look back on and feel accomplished.
Allison,
I think the keyword “intimacy” is valuable for our reflection here. We may think back to when books were all made by hand in every step of the process and imagine that, as Sharwane and Lisbel mention here, repetition takes some of the difficulty out of the process (which is not to say it’s not a painstaking process!). I imagine pre-20th folks didn’t give much thought to the book as an embodied process, but it’s a really useful reflection for us know — as you say, Zines may bring us closer to this work in a way that’s exciting and personal.