How do you arrange zine pages so they print in the correct order? There are lots of ways to do this, depending on the size of your zine and the number of pages. Here’s one method for quarter-page zines.
Shout-out to Ryan at Pocket Thoughts. His method for printing quarter-page zines is the first one I learned. What I have below is similar to the way he does it.
Here’s how I determine page order for printing zines.
This example is with a quarter-page zine where the cover is blue cardstock and the interior pages are standard white copy paper.
Printing a quarter-page zine on 8.5 x 11-inch paper means that you have 4 zine pages on the front of the sheet of paper and 4 zine pages on the reverse side of the sheet. So that you don’t have (unintentional) blank pages, your total number of zine pages should be a multiple of 4.
I make a paper dummy (aka mock-up) to figure out the page order. The process might be difficult to follow in writing, so I made a video explaining my method. The rest of this post is the method written out.
To make the mock-up, I use scrap paper that’s the same size as what the actual zine will be printed on (8.5 x 11 sheets of paper). If you’re going to have a different paper for the cover, you can use a different color of scrap paper or just mark the paper somehow so you know that’s the cover.
Cut the 8.5 x 11-inch pages in half horizontally.
Then fold the half-sheets vertically and put them together as a booklet. You should have the same number of pages as what you want your finished zine to be. Zines with 16 pages are common, so that would be the covers plus 12 interior pages.
Don’t staple the pages since you’ll be taking them apart anyway.
Label the front cover, back cover, and interior pages.
Take the pages apart, unfold them, and lay them out as if they were 8.5 x 11-inch sheets of paper. You’ll have groupings with 2 half-sheets. Then you can see how the zine pages should be ordered for printing. Flip the half-sheets over to see which zine pages would be on the reverse side of the page. This will show you how to arrange zine pages for double-sided printing.
Depending on the number of pages in your zine or if you want to use a different type of paper for the cover, you may end up with a half-sheet on its own. In this case, for the print layout you can copy and paste the top half of the sheet to the bottom half. So on the 8.5 x 11-inch sheet of paper, the top half would be the same zine pages as the bottom half.
Take notes so you remember the page order. These can be rough since they’re just for reference when you’re arranging pages in layout.
I use “1A” and “1B” to indicate that’s one sheet of paper, front side (1A) and back side (1B). Then “2A” is the front of the second sheet of paper and “2B” is the back of the second sheet of paper.
As long as you figured out the sequence correctly, you’ll be able to print and assemble your zines in the correct page order.
“Timers for travelers” is a 20-page zine about time travel. It includes:
Why timers are important to time travelers
Tips and warnings for traveling through time
Time travel methods
Pages were made with a combination of hand-drawn illustrations, digital elements, and typed text.
The zine measures 5.5 inches high x 4.25 inches wide (quarter-page zine). The cover is blue cardstock. Interior pages are printed in black and white on 24lb white paper. The zine is hand-folded and bound with staples.
“Everyday Time Travel” is about ordinary moments that feel like time moves differently than normal.
Out of the zines I’ve made so far, this one probably came together the fastest, from the initial idea to the finished zine.
I made the backgrounds with scrapbook paper, and I added some details with fineliner pens. Then I wrote the text on white paper, tore out pieces, and glued them over the scrapbook paper. I like how all the colors and patterns came together.
“Vignettes From Camelot” includes glimpses into the lives of Arthurian characters: Merlin, Morgana, Arthur, and an unnamed messenger.
The zine is 16 pages long with 4 original stories and hand-drawn illustrations inspired by nature and magic. It’s printed in black and white. I couldn’t decide on a blue or white cover, and neither could my Instagram poll. 😂 So I made both versions.
The stories in this zine started as a series of tweets I wrote a few years ago. My original idea was to write 10 tweets in a thread and have that be one story about people in Camelot. I never finished that, but I took the ideas I had for Merlin, Arthur, Morgana, and a messenger and fleshed them out into these vignettes.
I drew the illustrations by hand using black and gray markers and pens. I wasn’t sure which illustrations would go with which stories, so I drew each page individually. Here are a few of the original illustrations.
When I finished all the illustrations, I scanned them so that I could do the layout digitally.
I used Canva to lay out the text and illustrations. I made many of the illustrations semi-transparent so that the text over them was readable. In some cases, I put white boxes behind the text, so that the words stood out without adjusting transparency on the illustration. Here are two of the pages in Canva.
After I laid out all the pages, I did a few test prints to see how everything looked on paper. I made a some adjustments, and then printed several copies for my Etsy shop.
“Photographic Memories” is a collection of illustrations, writing, and memories related to photography.
It’s a quarter-page zine and 20 pages, which makes this the largest and longest zine I’ve made to date! The zine is printed in black and white and mostly hand-made with some digital elements.
It took me a while to make this zine. I knew I wanted to focus on photography, but beyond that, I didn’t know what to include. I knew I didn’t want it to be a how-to guide or lessons on photography. You can google all that and nothing I make would be as extensive or informative.
Instead, I thought about things that stuck with me—concepts and memories—and that’s what I made pages about. Here are some previews:
I made each page individually and then laid out pages by hand. The original pages look like this:
I used sticky notes to label each page, so I wouldn’t lose track of what goes where. I scanned pages, added some white space as buffer, and then printed copies.
I learned a lot by making this zine in a larger and longer format than I’ve done before. I already have plans for my next zine. It probably won’t be as long but it’ll be the same page size.
About a year ago, I stated making zines. It was something fun to share with friends, but then the pandemic hit, and we all stayed home. I couldn’t share my zines in person, so I started posting them to Instagram. I had no expectations for how people would respond. People seemed to like them, so every time I made a new zine, I posted it.
I attended a couple online workshops and (virtually) met people who make zines. That created a small community for me, which has been great during a year of limited social interaction.
I post my zines on Instagram and my blog, so anyone can read them digitally. But if anyone wanted a physical copy, there wasn’t an easy way to get one. Last August, I started an Etsy shop. Again, I had no expectations.
This week, I got a message about this zine:
A librarian who purchased Text Message Moods asked if she can use it as an example in a student workshop. I said yes because 1) it’s an opportunity to support education and 2) that’s super cool! A year ago, I would have never thought something I made would be in a workshop for students across the country.
It started with me making zines for friends.
Then I posted zines to Instagram.
Then I found more people who make zines.
And then someone who saw my zines reached out to me.
All of this to say—If you’re working on something (writing, art, poetry, film) and you aren’t sure how it’s going to go…share it anyway. You don’t know if people will like it until they see it. You can’t guess what connections you’ll make through your work.
Put your creative work out there, and see where it goes. It might lead you somewhere surprisingly good.
I contributed a page to the Pocket Thoughts Annual #3, a collaborative zine that features 25+ zinesters from around the world. Each contributor was welcome to do whatever they wanted with their page. I made this astronaut illustration:
I wanted to go for a collage look, but still where I made each part of it. This is what the elements looked like, before I put the page together:
I started with black cardstock and a white gel pen for the stars in the background. If you've seen my space-themed illustrations, you know I love drawing stars on black paper. 🙂
I drew the astronaut on white cardstock and the…cloud thing on black cardstock with a black fineliner and white gel pen. Then I cut those out.
The white strips on the left of the page are pieces of white cardstock.
I printed the text using my Phomemo printer. It's so handy for little things like this!
And then I glued everything into place. To send it in for the zine, I scanned it, so I could send a jpg.
Making this page took a while since I created each element separately, but I'm really happy with how it came out.
I started watching Abstract: The Art of Design on Netflix. It's a documentary series where each episode focuses on one designer and a different kind of design.
One episode is about Neri Oxman, a professor at MIT Media Lab. She leads a research team in exploring materials informed by nature. (Think: a strong plastic-like material made from proteins found in milk.)
In the episode, she talks about the relationship between art, science, engineering, and design. Usually, we think of them as four separate areas. You work in one domain but not the others. But Neri says, what if, instead, we thought of them as a circle? As a clock, where we shift from one discipline to another over time. Input from one domain becomes the output of another.
Neri uses architecture, design, engineering, and biology in her work, so it makes sense that she talks about interdisciplinary work.
A diagram displays on the screen at this point of the episode, and I paused it to draw it myself. When I see a diagram that clicks for me, I love recreating it as my way of learning.
Here's the circle, with the disciplines each having their own domain, but now connected.
I'm paraphrasing the explanation from the documentary:
Art is for expression. It looks at cultural behavior, which leads to questioning presumptions about the world. These questions lead into science.
Science is for exploration. We gain information (input from art) and turn it into knowledge (output to engineering).
Engineering is for invention. It takes knowledge and turns it into utility for design.
Design is for communication. We take utility, give it context, and turn it into cultural behavior (which is then expressed as art).
Full circle.
Continuing with the clock analogy, Neri says that at the midnight position, that's where art meets science, where Picasso meets Einstein.
I love this model because it shows the value of these disciplines working together. Rather than limit work to one domain, you can shift through domains (with a team...no one is an expert in all four areas) to create a full understanding, exploration, use, and expression.
I have some sample fountain pen inks from The Goulet Pen Company that are colors I would not write with, but they are definitely colors I would draw with. A bright yellow ink reminds me of caution tape, so I created this zine of everyday dangers, with the danger highlighted in yellow on each page.
I wanted to do a space and sea theme for a while, but I was stuck on the words. And then NASA found water on the moon.
I love how the colors, text, and illustrations came together. If you want to read about my process for this zine, keep scrolling after the images. 🙂
I started with a white sheet of cardstock and used blue and black stamping inks to build the background colors.
The blue ink is distress oxide ink, so it reacts with water. After the blue and black inks dried on the page, I sprayed the blue area with water and used a clean brush to move the water around and add some texture. Then I let it dry completely. I drew the seaweed and everything else in the blue area with Tombow dual brush pens.
I drew the stars and moon in the black area with a white gel pen.
Full disclosure: I wanted to draw little Daleks and built the rest of this zine around them.
Bonus material
Planning
If I don't quite know what I want to write or draw, I plan out the zine on one page, like so:
This acts as a rough draft of my zine, so I can sort out what I want on each page.
Guiding
I like to work on zines with the page unfolded, so I use small sticky notes to label each page, like this:
This lets me work on pages in whatever order I want, without losing track of the order in the folded zine. And, having the page unfolded means I don't have to worry about ink bleeding through to another page.
A handy little zine for how to identify potential time travelers.
To make the background for this zine, I started with white cardstock paper. I used distress oxide inks (3 shades of blue) and blended them on the paper with a sponge applicator. This ink reacts with water, so I used a gear stencil and traced the gear shapes with a brush and plain water. That's what made the sort of ghost-looking gears. I used watercolor brush pens with the stencil to create the darker blue and purple gears. The blue and orange clock faces (most of the cover page and the clock faces on the inside pages) are scrapbook paper that I happened to have and fit perfectly. :)
