Design Your Zine! | David Miller | Skillshare
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13 Lessons (45m)
    • 1. Zine Design Intro

    • 2. PerZines and Anthologies

    • 3. Designing Photo Zines

    • 4. Social Experiment Zine

    • 5. Compilation Zines

    • 6. DIY Printed Zine

    • 7. Finding Material For Your Zine

    • 8. Collating and Trimming

    • 9. Printing Companies

    • 10. Color Separating Layers In Photoshop

    • 11. Halftone Effects

    • 12. Color Controls On The Copy Machine

    • 13. Zine Design Wrap Up

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About This Class

Zines are short run, individualized, self published works that often feature unconventional subject matter; they can take many forms, from manifestos to comics to collections of photographs and even wildly experimental design and concepts.  In this class, we cover strategies for designing your zine, even if you've never made one before.  We break it down zines by genre and I show you some design tips, both digital and analogue, to help you get started.  

I’ll take you through my own process putting together a zine start to finish, and we’ll explore some other topics including color separations in photoshop and a screen print look on a self service copy machine for that authentic 70s punk zine look.  We’ve got a lot to cover so let’s get started!

Meet Your Teacher

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David Miller

Multimedia Artist For Primordial Creative studio


I'm David, a multimedia artist in Phoenix, and my studio is Primordial Creative.  


I have always been interested in the visual arts from an early age- drawing, painting, and clay- but around my high school years I became interested in photography for the social aspect of involving other people, the adventure inherent in seeking out pictures, and the presentation of reality that wasn't limited by my drawing skills.


One thing in my work that has stayed consistent over the decades since then is I have an equal interest in the reality of the lens next to the fictions we can create in drawing, painting, animation, graphic design, and sound design.  As cameras have incorporated video and audio features, and as Adobe's Creative Cloud all... See full profile

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1. Zine Design Intro: Hi friends I multimedia artist David Miller, and I want to welcome you to this course on zine design Zines air short run self publications that can contain a multitude of concepts and design choices. Because they're so open ended, it's often hard for a zine creator to figure out exactly what they want to do and how they want to do it. I wanted to create a course that helped focus the concept and execution of a scene. So in this class to learn about some of the scenes genres that are out there and tips for putting those together, I'll take you through my own process, putting together a zine start to finish, and we'll explore some other topics, including color separations and photo shop and a screen print. Look on a self service copy machine for that authentic seventies punk scene. Look, we've got a lot to cover, so let's get started 2. PerZines and Anthologies: One of the most common zine concepts is the pers een, and this is shorthand for personal zine. It's simply expressing a point of view. A history. It could be anything wrong manifesto to a diary to a day in the life, but more or less, I look at it as the purest form of expression that the Creator is putting into a single thing. This is me in pamphlet seen comic book. Have you wanna approach it? This is me in that kind of form, and her scenes are very popular within the scene community because it is a way that we connect. And we're like, Oh, I'm not the only one that has thes thoughts. I'm not the only one that thinks this way that feels this way. But this other person, this creator, took that extra step and put it down on paper and presented it to other people. Which, of course, is a very brave act in and of itself. The comics creator, who is well known for his extraordinarily personal work, is Harvey P. Car, and Harvey would write comics about his daily life called American Splendor. He would find other artists to draw it so this approach could be taken with your own zenith . If you find you are a better writer than an artist or a better artist than a writer, by all means, look for people you can collaborate with to accomplish your goals. Most of the time, I feel the best per scenes are the ones that 100% come from the creator there the writer, the artist, the manufacturer so on and so forth. I mean, that's the goal of the person is to get the most raw, personal version of a person, not necessarily the most polished package. On the other end of the spectrum, you have collaborative zines, which can often be seen as sort of like artists jam. Maybe there is a concept like nineties cartoon, and ah, whole bunch of writers and artists submit works to the zine originator referencing this nineties cartoon so you could find you know, Iran and Stimpy Zine that has a whole bunch of different peoples takes on Ren Stimpy. You could pick a cultural topic like sexism or racism or homophobia, and then have a bunch of creators create their individual pieces that contribute to this. And so you get an anthology that is built dramatically around one particular subject. There are no gatekeepers. There are no zine police telling you that your thoughts are too weird or crazy or normal or boring. You are the self publisher. You're the originator, and if you make it, it's gonna connect to somebody. 3. Designing Photo Zines: the first kind of Z and I want to talk about is a photo zine, and this is simply a collection of photographs. They have to have some sort of common theme to them, and themes do not have to be just one type of shoe or everything shot in this one location or 50 pictures of my friend Greta. But as with any publication, any book, there should be some unifying subject or idea that you are able to describe to another human being in one sentence. So a good kind of zine that has entirely photographs would be my travels in this country, and that's a travelogue narrative. You get this start when somebody arrives and you get the end when somebody leaves. So there is a through line. It's really easy to follow. I have seen scenes that are exclusively like different kinds of cakes, and certainly there's an audience for that kind of stuff because there's a lot of people out there that, like cakes, Um, but the important thing is you have to have a theme, and you also have enough of your theme to fill the pages. So I photograph models and I do a lot of it with in stacks photographs. And if I collected the fashiony versions of these, then that's a theme, and I have enough of those to fill it pages. How many pages do you need to fill? Well, a zine probably should start around 24 pages, but so how many images will you need? Well, let's figure out how many pages were going to use for our zines and a good length of a zine could be 24 pages could be a lot longer, but you're running into higher expense, especially if you're planning on printing color photographs. We'll get into the printing aspect in a moment. 24 pages is good, because the small format of a zine suits smaller page counts. But something like five pages, 10 pages. It's just not enough. It's not even a snack for somebody to enjoy your work. If you have 24 pages, do you need 24 photographs? Well, conceivably, you can put more than one photograph per page and a good layout tool for this could be Adobe Photo Shop. It could be Adobe Light Room, which has a book module and lets you set up page layouts. It could be adobe in design. Or it could be literally taking photographs and taping them or gluing them to a page and then running that through the copy machine. Having a variety of photographs per page is a good way to keep reader interests. It's a way of telling a story without words, because when we have one photograph per page that is saying they're all of equal value, the page that has multiple photographs on it, perhaps this is a page that is telling a sequence. It's very comparable to comic design on a comics page. They have smaller panels, which indicate a tighter sequence of time or less important moments, possibly more intimate moments. And when we have large panels on a comics page, we are indicating epic moments or moments where a long period of time passes, or this is the incredibly important image that you must see that you must pay. The most attention to the point is there's an ebb and flow to page design, and if you mess around with the sizes and the scale of your photographs, it's going to be mawr. Interesting for the reader to look at now, The thing with printing photographs over drawings and writing is that there is a level of quality that is expected when you create a photographic print on a page. Also, because the image usually have a lot of detail and it takes up a certain amount of space, you have to have a certain thickness of paper. Otherwise, you're going to have photographs showing through our bleeding through on the other side. Some of this is going to take some experimentation on your part, but I'm going to recommend a certain level of thickness to the paper. And when you go to a paper store, you can see if it's worthy of printing photographs on if it's two sided. That's ideal, because then you can have photographs best if it's two sided. If it's two sided paper, that is ideal. And if it is straight photographic paper than it's likely to have something on the other side, like the Kodak logo that Fuji logo on, that is not ideal because you're trying to make a book, and when you make a small seen you, that is not ideal because you're trying to make a publication, and that needs both sides of the paper to be able to be printed on if you utilize a copy machine for your zines. The copy paper. If you utilize a copy machine, it typically has a fairly good photographic printing techniques. If you're utilizing a commercial copy machine for your zine printing, they typically have a fairly good photographic printing quality. But they're also incredibly expensive. If you are printing a lot of color pages and two sided color pages, I believe the local Kinko's has a price of something between 40 to 50 cents per page when I print in color. So there are other alternatives. One is to print at home, and you will be using a lot of ink, which is also incredibly expensive. If you have an inkjet printer, you can utilize a work copier, like many people who create scenes do, and in that case, you just need to be very sneaky about what you're doing. You can also use commercial printing services, but they require a certain number of copies to make, and this is probably we're gonna get the best quality and also what's going to cost the most because if you need to print, say, 100 copies of your zine. If you're just starting out, it's very unlikely that you're going to be able to sell those. You might not care whether you sell them or not. They might be giveaways. They might be something that you are going. Teoh. You might not care if you actually sell all of these scenes, and I applaud you for that. If that is your attitude, but one alternative that is kind of expensive. Your printing 100 but not expensive. If you're printing a few, just to see if there's any interest at all, is blurbs. Trade books. These are small publications that when you use a coupon on their website, you can get a 24 page book for roughly $76 and oftentimes they have free shipping coupons as well. So if you are looking for a very small, high quality photo book, so if you're looking for a very small print ronin something in the neighborhood of 5 10 copies and you are just really trying to gauge if there's any interest at all and you want to make sure it's on nicely printed photo paper, I recommend using blurb service when they have coupons, so be on the lookout for any sort of printing coupons. That way you can make the most of your investment. 4. Social Experiment Zine: Now I want to talk to you about a social experiment, zine, and this is something that really captures the imagination with a lot of people I see at Zine Fest. Ah, social experiment. Zine is where u is the creator. Put something out in the world. Society fills it in, and you re present it as a published work. So I met somebody who put out an unusual style Craigslist personal ad. And when they collected the responses they got from all of the men who wrote back, they created a zine entirely out of those responses, I have another friend who is male, but he publishes a lot of photos of pretty girls on his instagram feed because he photographs them. However, he gets a lot of direct messages from other men who assume they're writing the hot woman. So he gets those messages and he compiles them. And, of course, when they ask for more photos of this, whichever girl they think they're writing, he sends them kind of ridiculous faces. And, you know, that's great fodder for a Xena collection of smarmy direct messages. And then those responses. When they find out that they're writing a man. There is a magazine called Found, which is entirely based around found objects, found writings that the magazine creators or people who submit to the magazine find just lying around in the street. It's really insightful material to the human condition on. In a way, the social experiment scene is creating something that couldn't come directly out of my head. You couldn't author this stuff. You are just borrowing from the real world and then making a bigger statement about who we are as people. Also, you are not having to write every word. You're not having to draw every line you're not having Teoh photograph every photograph you are taking the collective work of society and boiling it down into one thing. The way you get started on a social experiment scene is essentially, you just have to have an idea. And I feel like the best way to get something back from the world is to ask the world a question. So if you have your idea and you go on social media and you ask that question, you will get some responses. You ask strangers on the street. The answer to the question you might get a different kind of responses, things that are less thought out, mawr raw and immediate, because a lot of times when people write on social media, they sit around and think about their answer, and they give you the filtered fake version of their really answer. 5. Compilation Zines: Lastly, I want to talk about zines that are compilations of things you've already done but never thought to present in this small publication format. What do I mean by this? Well, I was an avid journal, er in my teen years, and I am sure if I were to randomly select pages from those journals, it would tell a story, maybe kind of a jumbled, random story, but a story nonetheless. There is a scene that I saw recently, which is entirely a compilation of punk rock posters, gig posters from the 19 eighties, and maybe these were all created by the same individual. But still, it is a compilation of something from the past, and in that sense it's a time capsule zine. And there's a lot of people out there who are interested in any era of time you can name. I'm particularly interested in the cave painting era, which was, you know, some 100,000 years worth of time. I'm very interested in ancient Japan, ancient Greece, Agent Mesoamerica. Anything that has those themes. I am going to have interesting and probably want to purchase whether or not it was created by the person who's selling a scene. It really doesn't matter, because compilations in themselves are a form of creativity, 6. DIY Printed Zine: not this point. I want to show how I created a few of my own zine and zine related works. This particular scene that I'm working on here is called Agony Aunts, Advice for Young Female Artists. And this came from a variety of sources. Uh, I was in an historical museum and found a newspaper article which specifically was advice to a young female artist, was from around 1900. And the advice given by the columnist to this artist was pretty poor and would not be seen in a good light in the modern era. It was very condescending and sexist and focused a lot on the appearance of the artist presenting her work. So I utilize some of this material for the writing. It was already in public domain and thinking of the concept of the advice column. I remembered. I had done a photo shoot with my friend Mackenzie in 2018 that had a particular look that reminded me of a retro beauty queen, that sort of thing. She had a sparkly crown on, and I thought that would be a very similar look to some kind of advice column. It did cutouts of this character. And then I did a lot of color pencil white out on the Xerox's because I didn't really have a direction at the time. All I knew is that I wanted it to be a combination of an art, seizing a punk rock scene with the original, cut out and taped aesthetic. I wanted it to feature all this bad advice for artists, and I just had this vision in my head. That was a big combination of things that I had generated personally, things that I had borrowed or sampled from other sources, and I wanted to make sure this felt like it was an actual art piece unto itself, and not just a bunch of things that were Xerox and stapled together. I have absolutely done zines in the past, which we're just a bunch of things coming off a copy machine, every page, look the same, felt the same, all stapled together. It held together as a package, but I actually want this one to feel like a piece of art, and part of the approach is to have a lot of effort put into each page on my originals. I used actual objects such as band AIDS and masking tape, not just pen in ink. And Xerox's, I have noticed utilizing stamping techniques and printmaking techniques in my zines makes them feel ah lot mawr, personal and unique and more like works of art than things just kicked off a copy machine. For the very first page I created a Leno cut stamp Leno cut is a block, but you can certainly utilize rubber stamps. You can get stands made by other people, but Lyrica and rubber are objects that you can purchase that the art store carbon a design and then Inc and stamp onto paper. So the very first page end up being a linear cut stamp. I alternated between black and white pages and color pages because making color copies on a copy machine that you're paying for is significantly more expensive than black and white copies are. I didn't want to make this 20 pages seen something that was way too expensive for me to sell. I certainly have color pages in here, but I also alternated if you black and white pages and then I use color paper with black and white copy settings so I could get a page that had some color to it. But the copy itself was very inexpensive, I believe was about 14 cents a page versus 65 cents a page to create these black and white copies on colored paper. Some of the pages were collaged by hand, somewhere collaged on the coffee machine, somewhere collaged within a Debbie photo shop and other programs. Some of that is the kind of thing that a kindergarten student could do. Some of it is more specialized knowledge for sure. All of this was in the service of addressing the young artist who would be reading this and through use of bad advice, sort of promote my own personal philosophy, which is that there really isn't any particular advice. It's gonna work for everybody in art and fixating on you know, the right way. The correct way to be an artist is the surest way to box yourself into a corner, make art that does not have a lot of heart and soul in it, not really get very far professionally because you're not doing anything that stands out above the rest. And that was my particular goal for creating this zine. If you were able to hold the scene in your hand, you'd notice different paper types to it. The cover is card stock. Most of the pages are a little more expensive kind of printer paper, something that's about £28. And heavy paper tends to feel nicer or professional, more durable. The color paper is actually a bit thinner, so it feels a little bit weaker, but it has color working for it. So you have three different paper textures, and if you were to read your thumb across the print on the first page, you would feel the ink because that one is individually stamped. The ink is elevated off the paper in my mind, having that variety of paperweights paper types having something that has a physical, tangible quality to it. Is the scene a reason to exist beyond being a bunch of digital images on the Web that could get across the same message? And while not every scene I've done has something similar to it, I think all of these scenes that I've purchased and all the good ones I've made, I have something similar to them. I have a zine called Hello, my name is Maggie, the cover is printed on vellum, which is sort of a translucent material, so light partially shines through it Because printing on vellum is a little more dicey than printing on regular paper, the toner kind of sits on top of it from the printer. I sprayed it with a spray fix, and that left this weird texture that if you run your thumb across, it is very satisfying. I used actual Hello, my name is stickers as part of the artwork. And then I had my daughter, Maggie, who the scene is about individually signed each one of those. And that was Zine. That was quite popular. I think Every time somebody picked it up, they asked me what all the materials were because it was so unique and you got the sense that this was more than something just mass produced with little care, thought to the materials that went into it. 7. Finding Material For Your Zine: looking for material for my collage. Seen involved searching at my house for random things, using photos that I took using archival photos, finding material from magazines that were like individual words that I cut out and attached together. Not all of this is public domain material, and I understand if someone does not want to work with something that has a copyright attached to it, Ah, lot of material is in public domain, and you can find them through websites such as archive dot org's. There are also books that specifically published copyright free public domain imagery that artists use for whatever craft they want to do. Ah, lot of this has an old timey feel because it might have been created over 100 years ago, 200 years ago, so on and so forth. But that kind of material is available to anybody who is worried about stepping on any copyright toes. For me, working with my own photographs, drawing and so forth makes these projects kind of a fun opportunity to mix up something I might have done in 2017. 2018 was something I did in 1997 1999 other parts of my life. I love the idea that we, as creators, can draw from various eras of our lives. Maybe our writings as a child so on and so forth, up to the current day find commonalities, create works in these scenes that summarize who we are as people in human beings and are just necessarily an idea that you had this morning that you executed this afternoon. And you know that Zine is just a representation of how you felt on one day. 8. Collating and Trimming: If you're printing your work yourself at some point, you're going to have to collate and trim it. The process of collating is very simple. Layout your pages in the order they need to be assembled and work assembly line to fold them. When you're folding them, use something that's pretty hard. Ah, regular D I Y bookmaker would use something like a bone folder. I've used the wood block something that won't damage the pages but is strong enough that it's going to give you a good crease. Increase my cover separately, cause mostly a used card stock for my covers and find it's a lot easier. Just decrease them on their own. I am using a bow stitch. This is a stapler that allows you to have a very long reach so you can staple something that's very deep. But it also has this block mechanism that slides up and down and lets you put a setting that if you're going to staple 10 zines in a row, you can set the block, insert your pages one hit and it's good. Once you've assembled your zine, you'll notice that there's pages sticking out. This is always going to happen because of the nature of folding paper and sticking it into cover the middle pages air always going to push out. This is where we utilize our paper chopper. I'm going to use this guillotine arm of mine to chop off the excess paper so I get a nice flush edge. Looks a lot more professional than if you are just leaving all that paper hanging out. If you made your scene on a copy machine, you don't have to worry too much about cutting into any specific material, because when you print things off a coffee machine, there always will be this quarter inch margin that doesn't get printed on the copy machines do not do any kind of edge to edge printing. 9. Printing Companies: I have used commercial printers for some of my projects. One in particular, Mag Cloud has created digests that were around $3 each, and these air kind of like small comic book forms. Every piece of paper involved in it is the same, so the cover stock is the same as the paper that's inside it. If you're printing photographs, it's a much more affordable way to make zines through service than creating a photographic seen on a copy machine. Because, as I mentioned before, that 8.5 by 11 copy machine print is 65 cents each side if it's in color, and you can imagine how that adds up very quickly if you're trying to kick off 10 2030 copies of your zine much more affordable to work with a commercial printer if you're going to be making something in those numbers in color even though these particular scenes were printed by a commercial printer, I was able to add a little bit of handcraft to it for the titles of the models that are on the cover. I created a stamp using stamp letters and individually hand stamped. Each one of them did not take me much time at all. Probably took me more time. Teoh put all the letters onto the stamp block and ink. Then it took to actually stamp the issues. I have many other stamps that I use to help give that unique, hand crafted touch similar to a book plate. I have a date stamp. I have a stamp of my name and my website address, and I have a stamp with my company logo. All of those go into the blank space on my mass produced zines as well as my handcraft busines, but it helps create this uniformity between all the pieces. If you were to find my work in a zine table or in a scene shop, there has to be some kind of trade dress elements in my mind that unify what you do is an artist. The stamp to look, them scribbled marker look, the Tauron collage. All of this stuff harkens back in my mind to the scenes of the 19 seventies and those air all attributes I love, and I want to carry them forward in the seams I'm making. 50 years after the dawn of the scene, age 10. Color Separating Layers In Photoshop: hair production busines of past and present was to include silkscreen printing process that involves layers of ink, press through screens that have blocked off areas. It's common and T shirts and poster art. But because of the space and equipment needed, it's a little daunting to get into. I'll show you how I use a simple self service copy machines available to us and our local copy shop that could be managed to get a screen printer effect to our own zines and poster art. But before I go to the copy shop, I need to do a little bit of behind the scenes work. I need to do my color separations using Adobe Photo Shop, and I'll show you how I add 1/2 tone effect to those color separated layers. Earlier this year, I really got into the art of screen printing, But recent shutdowns have prevented me from having access to the facilities at the studio. So I was looking for ways to create my own kind of screen printed effects without having to get an actual kit messing around with chemicals and screens and the way that I have come up with involves using the color settings on the copy machine. At my local FedEx, there is a function that allows you to pick either single color or a double color, which is They're a red, blue, green, cyan, magenta and yellow with a black. So you have your RGB colors. You have your seem like a colors. And then, if there's any overlap between those, you can create some kind of new third color. I have a file open in photo shop, and I'm going to do some color separations on this. First of all, I want to make sure that my file is the right size because on the copy machines at FedEx Print at 8.5 by 11 so I'll go ahead and check my image size. It's closed 8.5 by 11. For simplicity sake. I'm just going to reset those make it 300 pixels per inch, and I'm going to change my with to 8.5. My height is too much right here, so I'll address that in canvas. I'll go ahead and hit OK, it's resize my image, and then I'll go into canvas size to cut it down to 11 and Now my image is properly sized because I'm using single colors to represent each one of these tones. I'm going to make this a black and white image. But first I need to decide what should have its own color. I think that the yellow of this VW bug that Alina here is sitting upon should definitely get its own color of yellow. I think the model, possibly her head, could be one color, and then the rest of her body could be another. And then I see with the background beyond the bug, Uh, that could be its own color too. So I'm actually talking about four colors at the moment. That's the head, the bug, the body and the background. The body in the background don't actually touch each other, so it might be worthwhile. Toe leave this region, the body and this all the same color and the way that I'm going to separate everything out is I'm going to use selections. But instead of being tedious with it, using something like the magnetic lasso which normally follows the lines around a person or the quick selection tool which essentially grabs everything in a certain region, I'm gonna be a little more brutal, and I'm gonna use the political last. So these are straight lines and they kind of act like scissors. You had scissors in real life cutting this out, it would definitely be straight lines all the way around. It's faster for me to do in this tutorial. If you wanted to be more precise, obviously go with one of those other selection tools. I mentioned the magnetic lasso and the quick selection tool. Um, but for my purposes, this is just fine. We're gonna zoom around her head and to add on to my selection. I just hold down shift. Okay, so I have the bug and the young lady selected. Going Teoh duplicates layer by dragging it down. And then I'm gonna go ahead. Hit, Delete. Now nothing appears to be different, but my background layer, which has everything is still there when I turn off the eyeball icon. Now you see that it's just these sides here turn eyeball back on, going to duplicate my background layer again. This time I'm going to invert my selection. And the quick way to do that is to hold down shift command on Mac and control on Windows and I. But you can also find in verse in this select menu here in verse. And now I'm going to hit, delete, and I turn off the eyeballs on everything else. You'll see that now it's just the car and the young lady. So background is one layer young lady and car another. Now that I have that, I'll go ahead and de select. I need to cut out. The young lady gets a little dicey when the hair matches the background. This was originally shot on a Fuji in Stacks piece of film, which is a little credit card sized piece of film. That's why it has this very soft look to it now that I have her going to do the same exact thing. Duplicate this delete. Now I have a version without her. I'll go ahead and go to the version that has her, and then I'm going to inverse that selection. I'm almost done. If I only wanted her to be one color of the car to be its own color and the background to be its own color, then I'm good to go. But my original idea was tohave her body and this layer be the same color. So within this selection, we'll go ahead and cut around her head. And I'm okay with connecting my selection here because on the layer and working on there isn't anything there. When I had this eyeball turned on, it looked like there was a background there, but there wasn't. Go ahead and duplicate this Delete. Now I have the headless version. Go to the layer that has the head inverse the selection, delete. And then I can de select. Here's the state of things we have original. We never get rid of our original, but we don't need to see it. We have our head layer. Go ahead and call it head. We have body, layer, car layer and floor layer. I want the floor layer and the body layer to combine. So I'm gonna go ahead and drag it down here with the floor layer above the body layer. I'm going to get a layer, merge down, and now they're one in the scene at this stage. If you were ready to print, you could simply save as you you gets. You could simply at this stage if you were ready to print, you could simply save each layer as its own thing. We'll call it Prince one save as a JPEG because that's the format that the copy machine reads. Turn on the body layer, save that one as its own layer. And when you say things is J. Pegs that have this sort of invisible channel to it. This Alfa the little checkerboard pattern. When you save it as a JPEG, it just feels that him with white. 11. Halftone Effects: now having done it the easy way, I want to show you guys the couple steps more than I like to go for when I do my own personal art. This way we'll create a new layer below all of these gonna paint it white. And the reason for creating this white layer below is because I'm going to start converting these to half tone and do that. I need to convert the bit map and convert to bit map without shrinking down image. There needs to be something in the background. I know that sounds a little complicated. When I get going, you'll see what I mean. Now I want to convert this to 1/2 tone and half tones are tiny dots that made up images in newspapers in the 20th century before digital printing techniques. And to do that, I need to convert to a bit map. The bit map is great out here. The way that I get to a bit map is to actually switch to gray scale first as I'm converting to gray scale. If I want to use a bit map, I need to be eight bits channel and that is easily accomplished there. There's no noticeable decline in quality. Go ahead and do image mode gray scale and asked me if I want to merge in layers. I can choose yes or no. And then at this point, I now have access to the bit map. So I'll make my bit map. I'm gonna have to flat invisible layers for this stage. But I'll back up when I do my body in the car layers it. Okay, the output is going to be 300 pixels per inch. Going to use 1/2 tone screen. Half tone is going to have my current settings 39 lines per inch at 140 degrees. Did you get this kind of thing going on? To convert it back to a J pic, I need to go back to mode. Save It is gray scale, size, ratio one, and now I have 1/2 toned head that I can save as my black and white J peg half tone one, and then these steps I'm going to repeat for my other layers. I just utilize history which if you don't have opening Photoshopped, you can access through here and I backed up Teoh the gray scale level had turned off. The head turned on the body layer go through the same steps. Once I have my three layers separated, I'll go ahead and send them over to FedEx. I can email my files or I can put them on a thumb drive. Then we'll head over to the copy machine. One thing that's kind of fun for me, though, is each time I save the layers as a new bit map with 1/2 tone screen. I'd like to really change the screens a lot, so maybe this will have 48 lines per inch at an angle of 120 degrees. It's up to you. Ultimately, you might not notice any difference at all, or you might notice an extreme difference. I'm interested in effects involving half tones, including when copies get misaligned when you put them back in the machine to get, say, the car layer and when something overlaps and the dots don't match Exactly. So this is just kind of a fun way for me to enjoy those effects that probably not very many people notice. But now that we have our layers, let's head over to the copy machine 12. Color Controls On The Copy Machine: at the self service copy machine. We can take our image files on a USB stick and print them out as individual black and white copies on regular paper at my shop. I don't have access to the color controls unless I'm making direct copies from Prince, as opposed to sending a file through a USB stick or email. So I have to do this step first. Now that I have my black and white copies, I can access the color options on the copy machine. In our case, the ability to change full color to single color or to color to color option means one of the red green blue magenta scion colors with black paper. Imprinting on is £100 Bristol paper that I got from the art store. It gives a really nice polish to my mini poster, but because of its unusual wait, I have to feed it through the specialty drawer on the side and key in its way in size. Each time I place the paper there, if I try to use the regular copy drawer, the paper will get stuck and I'll be out my fancy paper. I'm doing my layers one of the time, printing my yellow car layer on three pieces of Bristol, taking those sheets back to the specialty feed and running the body layer color and then doing the same for the head. So here's my preliminary example, and I also did a version of the two color process for the head. But because the half tone effect ended up being just a mix of magenta and black and kind of a grayish tone, it isn't really the ideal version of showcasing what to color can do. I'll go ahead and show you some examples of zine pages I did as a two color process that didn't have any half tone effects on them. We also have some other posters I did where I mixed a blue layer and a yellow layer. And where there was overlap on the images, I was able to get a green mix the way that I was able to overlap. Certain areas of the image was simply in photo shop to leave that area untouched instead of completely separated, as in my example of the young lady on top of the VW bug. It's a lot of fun to experiment with color mixes color separations, layered effects, introducing things like lettering or physical objects in the same way that the old zine makers of the past did when they got their hands on copy machine technology. And while you can't do everything, one could do it physical links in a screen print. It's within the ballpark, and there's certainly creative methods unique to this copy machine process that will spark within your own brain as soon as you get started making your own a copy machine zines and posters. 13. Zine Design Wrap Up: guys wanted. Thank you so much for sticking with the class. I hope you've got a lot of ideas now for where you might take your own self published zine works Zine culture is so open and so wide that whatever you come up with, there's gonna be a market for it. There's gonna be a readership for I guarantee it. Please check out the rest of the classes on this teaching channel. I have other ones that focus on the scenes and writing them. I have ones that focus on graphic design, photography and a whole lot of other creative endeavours. Talk to you next time.