In a world dominated by digital media, there’s one thing undeniably highly effective about holding a hand-crafted zine—tangible, uncooked, and deeply private. Extra than simply ink on paper, zines are a press release, a rebel, and a neighborhood unexpectedly. They thrive in DIY areas, the place creativity isn’t filtered by company lenses however formed by ardour and goal. To the Beat its a improbable alternative to attach with the impartial artist scene, and that’s why we had to verify we didn’t miss South Bay Zine Fest.
Phantasm Corridor is a small, inconspicuous occasion venue nestled in Chula Vista’s historic Third Avenue. Sometimes used for quinceañeras and DJ occasions, this time, it served because the venue for the first-ever South Bay Zine Fest.
Maxwell Scheller had each the time and the cash, so he determined to arrange the occasion and hire out the house.
I’ve volunteered at different cons earlier than, and I figured I may do one thing like this myself—perhaps even do it higher. So I paid for the venue, and the turnout has been nice. Individuals are right here for the artwork, and meaning quite a bit to me.
Greater than 20 artists crammed the corridor, and regardless of the restricted house, SZF managed to host panels discussing the ins and outs of zine tradition. One panel that stood out was Making Zines Punk Once more, that includes Andi Dukleth, Attiba Royster, and Emily Rocha. All three are native artists—Royster is at the moment assembling commissions for a vampire anthology, whereas Dukleth and Rocha are a part of Unintended Aliens, a San Diego-based comedian studio. That they had a lot to say on the subject.
They spoke about how right now’s youth are drawn to actions like these, whether or not by collaborating immediately or just displaying as much as help native artists. They emphasised that punk by no means dies—it simply evolves. The core spirit stays the identical.
Rocha careworn how very important these sorts of occasions are:
“The extra it expands, the extra accessible it turns into to everybody.”
Royster made an necessary level in regards to the nature of zines:
“Zines might be well-polished or DIY—on the finish of the day, they are often no matter you need them to be.”
They defined that what makes a zine artwork isn’t the standard of the supplies however the effort, sweat, and keenness poured into it. Whether or not it’s printed on low-cost paper or top-of-the-line inventory, what issues is that it’s insular and private—that’s what makes others perceive its significance.
Royster closed on a strong observe:
“I really like giving that validation—saying, ‘Do you wish to be a part of this challenge?’ to different artists. Letting them know: We see you.”
The panelists all agreed that supporting native artists goes past sharing their work. Participating with their artwork—whether or not by social media or different platforms—lets the world know they’re right here and ready to be seen.
Strolling the occasion flooring, it was inconceivable to disregard the spirit of the competition, radiating from each artist’s sales space. One desk centered on psychological well being consciousness and Calico Critters. One other introduced consideration to Mexican farmworkers and the misunderstandings introduced up on them in gentle of present occasions. And there was a lot extra.
Comics additionally had their place on the occasion. One standout was Cosmic Cola by native artist Logan Monroe. An impartial title, its story attracts from Monroe’s experiences within the meals trade. With vibrant stickers, prints, and zines, it was clear this challenge was made with love and creativity.
Rachel Dukes, one other native and printed artist, showcased a wide range of their work, together with a big Risograph print from The Wizerd and had their very own titles like Frankie Comics, the latter impressed by their love for cats. Their artwork is so variety and improbable—it’s simple to get misplaced in it. Their Risograph prints, specifically, had been breathtaking, full of element and bursts of colour.
Subsequent to Dukes was Andrew Greenstone, a seasoned comedian artist recognized for his or her work on Sid the Cat Journal, Rust Belt Evaluation, and Star Wars from Reminiscence, their very own zine collection. Greenstone was unbelievable to speak to, explaining their work on Sid the Cat, the thought course of behind Star Wars from Reminiscence, and their distinctive, uncooked, and vivid artwork model. I couldn’t put their journal down.
One other standout was on the desk subsequent to them—Jesse Walker, presenting their first-ever comedian, Chonku City.
Chonku City is a hyperviolent crime romp a couple of frog who does whippets and karate. Briefly, it’s a fully insane learn. In different phrases, it’s improbable—precisely the type of challenge that thrives within the zine scene. It’s written by Walker and Greenstone, with artwork by Mars Gearhart, and edited by Greenstone and Dukes, with manufacturing dealt with by Mixtape Comics. A diamond on this proverbial punk tough.
That was one thing I needed to point out to all of them. With Sid the Cat, The Wizerd/Frankie Comics, and Chonku City—initiatives that, for my part, may do effectively on Kickstarter with the sheer quantity of labor put into them—I needed to ask: why come to small occasions like zine fests?
Greenstone stated it the very best:
“Chonku City simply got here out, and Sid the Cat #3 is on the way in which! To maneuver books, you must be prepared to go anyplace. With out exhibits like this, it could make it inconceivable to compete.”
The sentiment was shared all through the corridor. As somebody who has labored within the crowdfunding house for the previous three years, it’s arduous to not really feel the identical. Seeing artists pour their souls into initiatives—not simply to create, however to construct consciousness of world occasions and native points—was a stark reminder that even the most important names in comics right now, from Dan Mora to Daniel Warren Johnson to Fiona Staples, as soon as stood in their very own proverbial artist alleys.
The Phantasm Corridor is a small venue, and with an entire row of artists, it felt much more packed. The corridor’s capability is barely 300 folks, and Scheller initially had doubts about attendance. He was simply completely happy to offer the house.
South Bay Zine Fest welcomed over 180 attendees.
And that’s the center of it. Areas like these matter. They create alternatives, foster connections, and remind us that artwork—regardless of how huge or small—all the time has a spot.
With such an emphasis on Southbay Zine Fest we’d be remiss to not point out L.A. Zine fest! Happening right now Saturday March 1st to Sunday March 2nd from 11am-5pm. Whereas SBZF was a primary for San Diego, L.A. Zine Fest brings collectively Southern California zinesters at The Broad’s East West Financial institution Plaza to have fun impartial publishing and the D.I.Y. spirit. Attendees can discover a various vary of zines protecting politics, private narratives, images, high quality artwork, and graphic design whereas participating with exhibitors.
The 2-day occasion gives hands-on workshops, panel discussions, and entry to The Broad’s galleries. Introduced alongside Joseph Beuys: In Protection of Nature, the competition highlights how zines proceed Beuys’s legacy of accessible, grassroots artwork, empowering activists, punks, LGBTQ+ creators, poets, and anybody with a printer to share their voices and concepts. All utterly at no cost.
Should you’re within the space and love impartial artists you don’t want to overlook this metropolis vast occasion!
