Future Fantasteek! No.6

Soft-back Zine printed in mostly colour on white, yellow and green paper.
Includes a free million-squid note.
Saddle-stiched, A5 size containing 16 printed pages.
Pearly silver cover with glitter green arrow downwards.
Issue Six: Brighton 2009, edition size of fifty.

The 'Damp Research Facilities' haven’t been inventing many new life-saving gadgets this season, since they’ve been flat-out printing money. It’s fantastic! Want a new telly? Just cut-out the Million-Sqid Note included with this issue and buy what ever you’d like... with enough change left for a packet of Spangles. Also in this issue, cars of the future, have your work-ethic removed and what people say on mobiles.

To read the whole thing scroll below here:

Future Fantasteek! No.9

Softback Zine printed in colour on cream, yellow and white tinted papers, saddle-stitched.
A5 size containing 16 printed pages.
Red translucent cover with small gold 'get-out-of-jail-free card insert.
Issue Nine: Brighton 2010, edition size of fifty.

What’s happened recently then?.... 'The Damp Research Team' have studiously tackled the issues that we all think about - such as do you waste more time on Facebook or Twitter, and what’s the point of it all when your closest friends are only ‘virtual’ and can’t even buy you a beer and crisps?
In the current economic climate all the Damp Staff have been promptly sacked and the company has been sold to 'foreigners'. They’ve hired some child labour to do the work at a fraction of the price, which means it’s much better this time around since the kids are better at drawing.We’ve kept all our middle-managers though, since they are better at designing nice colourful forms in Excel. So, it seems the world is REALLY going-down-the-pan as we speak, but at least your hair will look pretty and the Botox will smooth over your anxious brow as you glance with alarm into oblivion.
Time for a cuppa-T love?

To read online click here: http://issuu.com/futurefantasteek/docs/ff9

Future Fantasteek! No.10

Softback Zine printed in colour on cream paper, staple bound.
A5 size containing 16 printed pages. Silver metallic cover.
Issue Ten: Brighton 2011, edition size of fifty.

Who’d have thought it... ISSUE TEN, of this rambling nonsense. The Damp Research team have been trotting out this stuff for FIVE years now. At some point you might have thought someone would find something better to do...but apparently not.
Well, the walls of money have stuck to rich people again and University is now soooo expensive only the Queen can afford to send her eldest son, don’t even bother sending girls - they just need to be pretty these days, start saving up for a boob job and sod the degree... (unless it’s in cosmetic surgery)
Damp Research - thinking for you, because you’re watching X-Factor...

To read the whole thing scroll below here: 

Future Fantasteek! No.11

Softback Zine printed in colour on cream, yellow and tinted papers, staple bound.
A5 size containing 20 printed pages. Blue card cover with small dye-cut and free saint card insert.
Brighton 2011, edition size of 50.
Guest Artist: Joe Kolessides
Guest Artist: Gregory Reuben Levitt

...HERE we are again, Future Fantasteek! issues numbers 1-10 are happily touring the globe with their sketchbooks.  BUT staff here at our research facility have decided to add fresh ideas to the ‘Recycling Fraud’ going on here... SO, two guest artists have been randomly selected by computer and were offered bugger-all in return for giving us pics. WHAT’S been going on everywhere else then? Chaos, disaster and political upheaval, everyone worrying about whether women wear too much or not enough, no one wants to eat cucumbers or beansprouts and no one is entirely content with the weather, or their newspaper... same ‘ol, same ‘ol...

To read the whole thing scroll below here:

  

Future Fantasteek! No.12

Softback Zine printed in colour on cream, graph and tinted papers, staple bound.
A5 size containing 20 printed pages. Cream pearl cover with metallic green mosaic.
Brighton 2012, edition size of 50.
Guest Artist: Eloise Parrack
Guest Artist: David Millhouse

OMG! The Olympics and the Diamond Jubilee and, if he wasn't dead, Charles Dickens would be 200!
Makes you proud to be British(not sure if we're letting Scotland play...) It's pretty goshed exciting, try not to RIOT. I think I need a cup of tea. NOOOOO! DON'T PUT THE MILK IN FIRST...

To read the whole thing scroll below here:

Art-Zines–The Self-Publishing Revolution: The Zineopolis Art-Zine Collection
Dr. Jackie Batey

Abstract:
As the curator of Zineopolis-Art-Zine collection at the University of Portsmouth, I set the aim of the collection to archive and reflect the diversity of thought and talent that exists outside the traditional publishing arena. Zines are one of the few areas left where creative people can speak without censorship to an audience beyond the gallery. This makes the world of zines new and exciting as well as challenging, with Art-Zines especially-the tactility and aesthetic of the self-published artifact is an important consideration. Commercial art is changing rapidly, with over reliance on clip-art images and images that exist to simply dress-up yet another advert. 
The nature of production, often cheap and quick, means these Art-Zines reflect the thoughts and hopes of the day (quite literally). 
Zineopolis is located within the School of Art and Design so it was a deliberate choice to focus upon image-heavy zines, although we have examples of poetry-zines, personal-zines and fan-zines. The emergence of zines across the USA, Europe and beyond means that contrary to popular thought, younger people (the most populous producers) have plenty to say about the world they find themselves in, and not as passively as one may expect. The culture of zines shows us that people do still have opinions, it also shows us that traditional conduits for sharing thoughts are probably not as accessible as we’d like to think. The Zineopolis collection seeks to archive and celebrate the self-publishing boom. Zineopolis is primarily a non-virtual collection where items can be handled and flicked-through, many have novelty items, unusual packaging, unconventional bindings, or unusual materials, this collection (although archived online) is sensorial delight in the ‘physical’. This presentation will show examples of what constitutes an Art-Zine.

This paper seeks to define the 'Art Zine' in more detail but these are the criteria I've written for Zineopolis.

1. The Art-Zine should be a non-commercial publication that has a small circulation. (under 1,000 but more commonly below 100).

2. Many Art-Zines are produced intending to sustain a regular edition - but in practice, few exceed 16 issues. Many run only to 2 or 3 issues.

3. This includes self-published works on any theme, most commonly by illustrators, crafts people, artists, designers
and photographers.

4. They are not subject to outside editorial control or censorship. This rule is the sine qua non of all zines.

5. Art-Zines are commonly reproduced via photocopier or home computer printers - hardly any are produced by commercial printers. Many utilise techniques such as screen printing, block or lino printing and letterpress.

6. They are sold in specialist shops or via the internet, many are swapped or given away free. Some may be intended as self-promotion.

7. Visual content (images) will be larger than textual content. Some may contain only images.
(This means we are open to collect zines in any language).

This paper was delivered at the Ninth International Books and Publishing Conference (Canada 2012)
Scroll here to read the whole paper.

Delivered at the 9th International Conference of the Book 14-16 October (2012) University of St. Michael's College in the University of Toronto.

To read the original version follow this link:
http://ijb.cgpublisher.com/product/pub.27/prod.478