Take Irrelevant Press for example, a zine collective made up of four women based out of Brooklyn and Oakland, California. Tools like InDesign and Photoshop have opened the doors for zine enthusiast, making it accessible to design and publish editorial directly from your own devices. “My aesthetic has once been described by a bud as “gritty”, Lindesy explains, “ I think I prefer calling it “analog-meets-digital”, or maybe “just found this cool at the time.” Her process is reflection of old and new, combining both analog elements and digital layout tools like InDesign to create and publish her own work. She focuses her zines around her collection of poetry and short stories to create art that reflects her home, history, and identity. We see the revolution of self-publishing emerge with people like Lindsey Adams, an afro-korean writer and zinemaker born and raised in the San Francisco Bay Area. “At the core, I’m interested in the ability of graphic design to amplify the voices and ideas of creative people - especially those who may have less opportunity to be seen or heard.” “My publishing and design practices are closely tied, if not one and the same,” Adam says. Now, zines are more synonymous with short-run publications, and therefore they can have a little bit more intention in their design and production,” says Adam Lucas, a graphic designer and assistant professor at the Kansas City Art Institute. “When zines came about, it was all about a punk aesthetic of using what’s at hand, which at that time was Xerox machines and kind of this collage aesthetic that came about from that technology. Photoshop and InDesign work more cohesively to empower makers and designers to create innovative work and propel the future of graphic design and publishing. Today, as zines and other editorial works re-emerge, neither layout nor design overpowers the other. “Adobe has put tools into average users’ hands so they can express themselves with rich visual design.” It used to be that only a really small number of people could lay out a page of text and have it be beautiful,” says David Blatner, a writer, speaker and desktop publishing expert on Indesign, Photoshop and QuarkXPress. “We’re offloading stuff to our tools that we used to keep in our brains. But with the rise of digital, the design began to take center stage. When print was the medium of choice for brand messaging, there was much more focus on execution, and publishers leaned heavily on InDesign to fine-tune their layouts. Over the last two decades, InDesign and Photoshop have been indispensable publishing tools.īut the relationship between the two platforms has evolved as print has given way to digital, and as publishing has again transformed to the point that creatives must now live in both worlds simultaneously. How Photoshop & InDesign Work Together in a New Era of Zine Making The relationship between graphic design and layout has made zines and other editorial work attainable for everyone.įeature image credit Marie Kjær Aarestrup Jensen.
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