RIP ZINE by RAW PRINT

rip zine - Read In Peace -

A RAW PRINT02 PUBLICATION

- Read In Peace -

read

in CONTENTS

THE WYRD & THE WONDERFUL by NICK TAYLOR

MOTHERS EYES by ELLA TARANTONIO

THE AWE by JOEL HAGUE

LOOK, OBSERVE, READ by DIOGO OLIVEIRA

RIP IT UP! with ANTHONY BURRILL

THIS SUMMER by MEGAN WALL

BOOK OF SAND by PAUL BRAZAUSKAS

peace

Welcome to RIP ZINE or Read In Peace.

RIP is about the power of print and a celebration of the tangible. Originally inspired by publications from the Raw Print Archive I began talking to people about their favourite magazines and books and their memories of reading print. For me RIP is about the beauty of isolation, as well as a call to arms to remember and celebrate the emotional benefits of print, especially now in a digitally obsessed world. However, since starting this project in late 2019 the ideas and meaning of RIP have grown in significance due to the global pandemic Covid-19. Reading can indeed have healing properties and I am interested in our emotional attachment to print. My earliest memories of reading are of hiding away behind the sofa with a favourite comic and devouring the pages whilst also listening to a favourite record on my Dad’s stereo, wearing a set of massive old headphones. There I would escape into my own private world, blissfully happy for an hour or two. Print still holds a magical

quality for me and the bond with music is also very strong. But nowadays time seems so limited and opportunites to hide way are few and far between. RIP ZINE showcases seven artists’ personal creative responses to their interpretations of Read In Peace. I have spoken and worked with all of them, looking together at their own archives as well as that of Raw Print’s. In all cases you will see their specially selected Listen In Peace playlists which you can scan and enjoy (via Spotify) whilst looking at their work. In certain cases, you will also see their Reading Lists highlighting some of their personal favourite items of print. The centrepiece of this publication is a feature on Anthony Burrill looking at his amazing personal archive, which you will need to RIP open to reveal my interview with him. So I invite you to escape for a moment or two while you Read In Peace. Thanks - Matt scan to listen to my playlist:

Dust Jacket Design by Anthony Burrill

EDITOR’S LETTER

- Read In Peace -

THE WYRD & THE WONDERFUL by

NICK TAYLOR 05

NICK TAYLOR key words: print/work/big/people/nice/magazine/copy/music/beastie boys/ scanning/page/tactile/art/synthesizer/illustrator/job/Sheffield/style

Nick Taylors Instagram bio reads ‘Artist, illustrator, explorer of the wyrd and wonderful’ and I was first hypnotised by the cosmic delights of his ‘Phenomena’ prints. Entranced I then acquired his tourde-force of a zine ‘Synthe-size Me: A Brief but Electrifying History of the Synthesizer’. I have been mesmerised ever since!

listen in peace

Nick’s Playlist

* Ralome - PLAID, BENET WALSH * Hallucinations - THE ALPS * Here in the Dark - AOIFE NESSA FRANCES * Sun - MARGO GURYAN * Feel Flows - THE BEACH BOYS * Sunrain - ASHRA * Tears of Clown - GIGI MASIN * Astral Traveling - PHAROAH SANDERS * Minne - ROEDELIUS * You Are Not An Island - VANISHING TWIN * Konta Chorus - THE UTOPIA STRONG * By The Sea - WENDY & BONNIE * Magician in the Mountain - SUNFOREST * Utopia and Visions - DON CHERRY, TOMMY KOVERHULT, TOMMY GOLDMAN, MAFFY FALAY, TAGE SIVEN, OKAY TEMIZ * Dayvan Cowboy - BOARDS OF CANADA

Nick was born in Sheffield and is based in Nottinghamshire. He studied fine art and printmaking at Manchester Met, spending most of his time in the print-making room, where he got the screen printing bug. Graduating in 2002 he spent a few years ‘losing his way’ and figuring out what he wanted to do. He got married and got a house with his wife, so then he had to get a job! Ending up working at a sandwich factory as the manager of the prep department. So he stopped there, but after a couple of years he started sending his work places as he’d noticed there was a lot of record labels going along a more illustrated path. He started sending work to

Read in peace Nick’s Reading List

* TYPOGRAPHICA Magazine * LETRASET Design Handbook * GRAND ROYAL Magazine * LITTLE WHITE LIES Magazine @nickillustratesthings

- Read In Peace musicians and labels that he liked and that’s how he ended up getting his first job. Then five years ago he took redundancy and set up on his own doing illustration and graphic design. He says it’s been it’s been a strange journey, and not the usual path but he’s worked his way up and built the momentum to carry it on.

Library’ safely at home! Nick got into fanzines through the magazine Grand Royal, an offshoot from Mike D of the Beastie Boys. Loving the freedom and energy of this and other similar publications, consolidating in his mind the idea of music and design going together hand-in-hand. He now also creates his own zines and prints as personal ‘dream projects’, screen-printing from home and selling them on Etsy and through Zine Fairs.

Nick says his biggest influence has been his Granddad, also a graphic designer, who went off to Art School in the early 1950s. Unusual at the time because he was a young family man and Nick’s Nan became the breadwinner. He was a big jazz fan and some of Nick’s early jobs were working on new jazz albums, so Nick would send bits & bobs of his work to a very proud Granddad. He used to give Nick Letraset catalogues from which he would endlessly copy different typefaces and still uses them to this day to scan, cut and paste into his work. He would also show Nick his Typographica magazines from the 1960s (a bit of a Graphic Design Holy Grail) and this really stuck with Nick, the different papers being used and the tactile nature of print. Nick inherited these when his Granddad passed away eight years ago, and he now has the ‘Gordon Arnold Memorial

Nick got his first big break as an illustrator with the film magazine Little White Lies, and his advice to any young creative is to be really specific and pinpoint who you want to work with. Use the computer as a tool hand-in-hand with other media. Look at other styles and then try to avoid everything you’ve seen! Don’t try and force it and don’t get too hung-up on a style, but rather let your working processes shape and define your style. Take different directions, try out DIY projects like making your own zines, prints, t-shirts or whatever interests you, building up your own processes and ways or working. But most importantly use your imagination, have fun and be wyrd and wonderful!

- Read In Peace -

The Wyrd - Nick Taylor (2020)

- Read In Peace -

The Wonderful - Nick Taylor (2020)

- Read In Peace -

MOTHERS

EYES by

ELLA TARANTONIO 13

ELLA TARANTONIO key words: zine/people/artwork/riso/hair/feel/depression/interesting dad/haikus/shaved/thought/manga/art/read/accept/rebellious/talk

Ella is a student who first got into zines through a publishing project with the menswear brand TSPTR – unexpected yes! But then again Ella is not your ‘Typical Girl’ (check-out The Slits reference!).

listen in peace

Ella’s Playlist

* Rockin’ the Paradise - STYX * Ubu - METHYL ETHEL * Cherry Wine - HOZIER * Attention - JOJI * Watch Me Dance - TOM MISCH * Look For The Silver Lining - CHET BAKER * Horizons - GENESIS * Beeswing - RICHARD THOMPSON * Across The Universe - THE BEATLES * Dawn - DARIO MARIANELLI, JEAN-YVES THIBAUDET * Slow Dancing In The Dark - JOJI * I Heard Love Is Blind - AMY WINEHOUSE * (Guitar) - ALT J * Yllw - BAKAR * In My Life - THE BEATLES * Boys Don’t Cry - THE CURE * 1952 Vincent Black Lighting - RICHARD THOMPSON * The Bug Collector - HAYLEY HEYNDERICKX * These Days - JACKSON BROWNE * Fifi the Flea - THE HOLLIES

Ella now uses zine-making as a way to explore her issues with mental health and her identity as an ‘Egg’. She is indeed the proud owner of an ‘Egg’ (or shaved head) a rare sight these days! The origins of her zine ‘Mothers Eyes’ began by looking into girl skinheads, who refer to themselves as an egg. In her zine she explores her experience and that of others who have shaved their heads. There are misconceptions about people with shaved heads that Ella wanted to challenge, whilst also looking at the importance of hair in terms of shaping somebody’s identity. This of course can be incredibly significant for most women. She also hopes the zine will inspire people, as she says ‘it’s been such a freeing experience’ and has made her feel much more confident. @m0therseyes

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ella tarantonio in conversation with Matt Gill a.k.a Raw Print MG: Hi Ella! Thanks for taking time out to talk to me about your love of print and I’d like to start by asking you what are your earliest memories of reading? ET: I’ve been brought up in a house of book worms so books have always been a big part of my childhood. First book I remember reading is the Hungry Caterpillar, it was one of my favourite bed time stories. I also really loved We’re Going on a Bear Hunt - in my opinion a classic bedtime story. MG: Do you have any favourites books or magazines from your childhood? ET: My favourite magazine was the Roald Dahl magazine as I was a massive fan of his books and crazy tales! Every other Sunday it would be delivered to my local newsagent. My favourite book or novella was Coraline by Neil Gaiman and I think it still is. It’s so creepy but such an interesting story and makes you grateful for parents that don’t want to eat your souls! MG: What are your thoughts about the importance of print from its physical and emotional attributes? ET: With physical I love tactile paper and the choice of paper. I think the paper can add another element to print and work well with the aesthetic of the work. You don’t think about it too much but I can imagine a lot goes into the thought process. I tend to prefer publications that are a lot more informal and a lot more conversational just because I feel more comfortable reading it. I wouldn’t say I’m a very serious person but when I can relate to and see the emotion behind the work I am way more captivated and will take the work with much more seriousness. MG: What are you reading now? ET: I’m currently reading poetry as it is easier to take in small chunks when I’m having busy days. Poetry has been a big love for me, I loved writing them in English and I was never really good with English so it made me understand it a lot better. I’m reading ‘Poems That Make Grown Men Cry’ - by

- Read In Peace Anthony and Ben Holden - which is as sad as it sounds but it’s got some amazing poetry in it. MG: How do you like to read - online or in print? ET: I’ve tried to read online but I’m old fashioned and I like the process of buying a book in a bookshop and holding it when I read. MG: Do you think print is still relevant and important, and if so how? ET: I really think so, my Mum and my sister are massive bookworms to a point that my sisters room is just bookshelves full of books. They had Kindles but both stopped using them in a year because they missed holding a book and reading from the actual pages. You can see the increase in print these days and the way people are going back to nostalgia and print is a part of that. MG: How do you think your peers and your generation feel about print? ET: Because I live with creatives and graphic designers and surround my self with people that respect and love it I see them like me. However from a generational idea I think we will come back to it, the Internet is still new and we are going crazy speeds forward in developing it but people want to come back to a book from time to time to bring it back to reality. But I can only speak for a small minority as I feel I was born in the wrong generation. MG: Would you say that most young people still read books and magazines in print? ET: Sadly, no. A lot of people at uni that I know really don’t, only a handful of my friends still read for joy. I would say people pick up magazines for visuals rather than content but at least they are picking one up. MG: Thankyou Ella. Read In Peace.

- Read In Peace -

THE AWE by

JOEL HAGUE 25

JOEL HAGUE Key words: printmaking/feel/absolutely/happy/elements/people/nice photograph/talk/music/attracts/interesting/moment/community/memories

I was first awestruck by the beautiful art work of Joel Hague when I bought one of his prints at the Notts Zine Fair. It bore the inscription ‘League of the Sacred Heart of Jesus – Apostleship of Prayer’. Needless to say that I was intrigued and wanted to find out more.

listen in peace

Joel’s Playlist

* Birthday - SUGARCUBES * Powder Blue / Cascine Park - YUMI ZOUMA * Cool For A Second - YUMI ZOUMA * Love Me - THE 1975 * Paris - THE 1975 * Here Comes Your Man - PIXIES * One More Time - PALE WAVES * Twenty One - THE CRANBERRIES * America - SIMON & GARFUNKEL * The Exploding Boy - THE CURE * This Must Be The Place (Naive Melody) - TALKING HEADS * Can’t Be Sure - THE SUNDAYS * Motion Sickness - PHOEBE BRIDGERS

Joel is an artist, printmaker, image-maker and poet who studied Design Craft at DMU. He has a real love of music and was directly inspired by the band The 1975 and their Care Pack ‘A Brief Enquiry into Online Relationships to write ‘The Awe’. He wrote the poem as an artefact of expression and as a freeing process from the constraints of university coursework. He likes to write poetry as it helps him to deal with mental health issues, and he finds it a great way to help him to ‘just get things out’.

Read in peace Joel’s Reading List

* THE 1975 - A Brief Inquiry Into Online Relationships * PASSION 202 - Laura Lewis. Rough Trade Editions No.17 * SAUL LEITER - Thames&Hudson Photofile * PRESSING MATTERS Magazine * THE DARLING BUDS - Hit The Ground 7” Vinyl

Joel uses zines as a way to open-up and be brave about things that are personal to him, creating an emotional response that will also have a personal connection for the reader.

@_cheshur_

The Awe ~ Eyes open Deep breath Small steps Feel it all as one? I’d rather feel it with you See city lights speak a certain secular transcendence, it’s thought through so many times, the vital appendage for the answers we’re all looking for; and it’s that gap, between being conscious and being alive that renders us ambivalent, imbued in this wholly silent awe. ~ by Joel Hague

The City

In your name

In your name In your arms In your bedroom In your eyes In your phone In your thoughts In your prayers In your dreams And out your head

Death In Scarborough

God's own country

Small towners sickly and pale faced Testing luck with cross-eyed chances Take one for you and one for me I rest the hand who mends me And shes waited quite patiently And now my coffee is going cold And the lights turn off And no one is home

Candy Floss Goss

Caine

I found him Slack jawed and glasssy eyed Glazed over me all jaded like When nothing comes from nothing And all he does to carry on Finding an inkling of meaning In anything at all Of who you are Change! While you still can!

It’s Not Forever

Life happens in cars

Tell me what it doesn’t mean When life happens in cars Drawing wrong conclusions I’ve been trying to say goodbye Without saying anything at all So scuff my feet around To find a path to point You’re hard to come by So go on and on and on Ask me what it doesn’t mean

- Read In Peace -

LOOK OBSERVE

READ by

DIOGO OLIVEIRA 33

diogo oliveira Key words: magazine/work/juxtapose/photography/expansive/interpretation/idea open/intense/similar/recordings/subtracted/stiletto/photograph/points/natural

Diogo a.k.a Lolly is a Graphic Designer from Porto in Portugal. He specialises in typography and branding within print and editorial work. He is also a guitarist in a band called Pervert Wasp where hypnotic riffs collide with chaotic improvisation, much like his own work.

listen in peace

Diogo’s Playlist

* If You Used To Be Punk - THE EMPIRE LINE 2TM * Náströnd - VARG * High Rise - SURVIVE * Body to Body - THE HORRORIST * Parallel Transport - POLAR INERTIA * Dark And Long-Dark Train - UUNDERWORLD * I Am Blazing Sound - ANCIENT METHODS * Amber Decay - KANGDING RAY * Act Of The Empress - PAN DAIJING * X0001000X - 999999999 * The Virus - THE HORRORIST * Turning Field - BODY SCULPTURES * Donna - MMM (ERRORSMITH & FIEDEL) * Spinach Girl - AGORIA, SYLVIE MARKS * Architectural Hangover - GIANT SWAN * Rausch - INHALT DER NACHT * Salve - HARSH MENTOR, IMPERIAL BLACK UNIT * Non For The Sane - KRIS BAHA * An Eye For An Eye - DANILO INCORVAIA * Laminator - AYARCANA * Children Are Our Phuture - NOT WAVING * Positif - MR. OIZO * Theory of Machines - BEN FROST

Diogo has always been interested in the creative world and remembers going to see an Andy Warhol exhibition as a child, which had a profound effect on him. He began studying Architecture, then after 3 years changed to Graphic Communication. Lolly designed this 8-page editorial piece based on his personal responses to feelings about reading in its broadest sense. Page 6 includes his own written interpretation called ‘What you got in your Pocket’. Enjoy his hypnotic improvisations while you look, observe and read.

Read in peace Diogo’s Reading List * VNA Magazine * JUXTAPOZ Magazine * VIOLET - Bart Kemps @lollydiogoliveira

- Read In Peace -

RIP ITUP! with

ANTHONY BURRILL 43

ANTHONY BURRILL key words: exhibition/book/print/leeds/people/royal college/rubber stamps thinking/big/magazine/atlas/design/publications/typography/drawings/collected

I knew I was in for a treat when I visited the artist Anthony Burrill in his studio in Kent, but nothing quite prepared me for the the amazing treasure trove of print from his own personal archive. As a print geek I thought I had died and gone to heaven and his serene studio set in the beautiful surrounds of the Kentish countryside would be a most suitable place to R.I.P

listen in peace

Anthony’s Playlist

* Thursday Afternoon - BRIAN ENO * 1/1 - BRIAN ENO * Ikebukuro - BRIAN ENO * The Unquestioned Answer - LAURIE SPIEGEL * #7 - APHEX TWIN * Peace for Earth - FOUR TET * Toyota City - THE HUMAN LEAGUE * Toward a Boundless Uncertainty, Sunlit But Shivering - BENOÎT PIOULARD * A Rainbow in the Curved Air - TERRY RILEY * Electric Counterpoint: II.Slow - STEVE REICH, MATS BERGSTRÖM * aisitsana [102] - APHEX TWIN * #20 - APHEX TWIN * Conta - ALESSANDRO CORTINI

Not only was Anthony the most gracious and generous of hosts, having had lunch he then took me on a trip to his printers - Adams of Rye, with whom he works closely producing his renowned woodblock and letterpress posters. As if his own personal archive wasn’t enough I was now truly in nirvana.

Read in peace

Anthony’s Reading List

The only way to recover from this was over a pint at his local pub and chat about ‘90s rave culture.

* ATLAS Magazine * BOUND IMAGE * FUEL Magazine * STEALING BEAUTY Catalogue * MARK PAWSON * STEFAN MARX * GEOFF McFETRIDGE

The following pages show details from his archive and if you RIP open these pages it will also reveal my interview with him. Nice!

@anthonyburrill

- Read In Peace -

Anthony Burrill

in conversation with Matt Gill a.k.a Raw Print

MG: Here we are with your amazing treasure trove of print so let’s dive in! AB: Well this is my box of things I’ve collected over the years. When I was at Leeds doing my degree I found Atlas magazine. So I’ve got issues two and three. This was Jake Tilson and his friends making an independent art magazine and seeing this stuff, it just said to me, all right so there’s this independent magazine world. Before that I bought NME and in those days it was quite an inky kind of magazine, because the issues used be super fat and dense with information. So seeing publications like these it led me into this world. I think they were all Royal College graduates as well, so it was something that definitely was on my radar at the time. Just looking at the print quality and how things were put together with a handmade feel, different print techniques, kind of stuck together, things tipped-in, rubber stamps. I mean, it’s absolutely incredible. MG: Yes. If you saw this today, you would be amazed with the quality of it, and the level of work and the production values. AB: Yeah, Jake Tilson was a bit of a hero when I was first at the Royal College, and with the NME it was like that was the ultimate kind of cool music magazine. It did feel like ‘Oh here’s someone doing something around art & design and making that incredibly cool and this speaks to me, but with that kind of artist side of things’. Looking at this spread, these woodcuts, the way that as a spread it feels like it’s elevated somehow from the usual kind of magazine you would get. I was never really into The Face or i-D you know, that wasn’t something that really spoke to me that much.

here’s someone

doing something

around art

& design and making that incredibly cool and this speaks to me MG: You said that you found these in the Leeds City Art Gallery bookshop? AB: Yeah, it was kind of from a different world really, and I think that’s the first place that I’d ever smelt fresh coffee. It was definitely a world that I wanted to be in. I was looking forward to moving to London and just being in this world a bit more, that felt like a combination of art and graphics and all the stuff that I was interested in but still hadn’t really explored fully. MG: Looking at things like old tickets and this sort of nostalgic ephemera, is that something you’ve always been interested in, and where does that come from? AB: Through travelling and keeping mementos from trips

- Read In Peace -

Anthony Burrill

- Read In Peace -

The Wonder Book Of Divine Communication Anthony Burrill

and looking at typography, texture and all that stuff. I was just always really drawn to that and it’s something that I’ve collected. You know, it’s easy to collect this stuff and you just stick it in a sketchbook and my sketchbooks were almost like my little exhibition space. You could show off that you’d been on the train to London by putting a ticket in there and appearing quite cultured. But you could curate it and style it exactly how you wanted it. MG: Also with the design of these old tickets is there the feeling for you that these things are better by the design from that era? And if we look at tickets today... AB: Yeah (laughs), they’re not quite as much fun! They lack individuality. I think that’s something I was always really interested in the bits of design that fell inbetween the cracks and that maybe at one point had some kind of professional designer involved. But then they’ve been filtered through and played around with. MG: But even these things, which are so throwaway, they’re extremely well-considered and designed. AB: Yeah. I think they’ve got a wood type feel to them. I think that the whole aesthetic of wood type and that approach to typography is in its first instance, so well designed and the way that the type works together is so beautiful. MG: So when you were buying Atlas were you then excitedly showing your mates at college? AB: Yeah and then that obviously filtered into the work I was producing. MG: Was there a bit of a buzz around this work and things that were happening at the time?

AB: Yeah and thinking that this stuff was being made by people that you could connect with. So it wasn’t like big, thick art books from the library. It was stuff that was available. More relatable. MG: What are your earliest memories of reading? Have you always found it to be something that gave you comfort, where there was an emotional connection and that you could escape into a world of print? AB: Yeah. When I was really young I had a cartoon annual, Topper I think, and I remember it had a bit of red and blue type and I’d just like sitting in bed looking at it almost shimmering in the bedside light at night and there was almost like an optical effect with it. I remember that as a really strong memory and reading through manuals and the pulpy paper. I’ve always read a lot and collected books and collected stuff that feeds into all of that. MG: My Dad would take me around little bookshops as a kid, and I was aware that he was collecting stuff and lots of other things as well, like stamps and seashells. So I got my love of it all through him. But not because he was saying you should like this or do that, but because you just can’t help but fall in love with these beautiful things. AB: My parents didn’t really collect books. I think this is definitely something that was my thing. I started collecting art books and things when I was doing my A-Levels. So I definitely went down that route and this is Atlas as well Bound Image that was designed by Jake Tilson and it was a group publication. So him and his friends from the Royal College had an exhibition at the Nigel Greenwood Gallery just off Cork Street, and the brilliant thing was they had all the camera-ready artwork on the walls of the exhibition so you could actually see the red bit and then the blue and the black bit and see how it was all put together.

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Atlas 2 - Jake Tilson

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MG: It’s interesting, because even seeing all of that still doesn’t destroy the magic does it? It just makes it even better. AB: Yeah. It becomes a physical object. Sculptural, and then it’s produced as a multiple. That’s something I’ve always been interested in. To produce multiple copies or editions and making things like rubber stamps, postcards that are handmade and all that sort of kitchen table publishing.

it becomes a physical object.

sculptural and then it’s produced as a

multiple.

that’s something

I’ve always been

interested in

MG: So, Jake Tilson. A big inspiration and you went to the Royal College after Leeds Poly. Did you ever meet Jake? AB: Yeah, I think I was definitely stalking him for a while and then I went to his studio a couple of times and ended up helping out. I spent a few afternoons sticking in postcards and things into copies of Atlas 4. So I was part of the production line. He was really nice, very welcoming and encouraging MG: And so the stalking paid off? AB: Yeah!(laughs), just being there and being a part of it all really. They would have multiple copies of these elements and then you’d have to stack them all. MG: Brilliant! Do you know if Atlas magazine has ever been documented and given it the proper treatment it deserves? Has someone done a coffee table book about this amazing body of work? AB: I’m not sure really. I think Jake is very good at documenting his own work and collections of things. This first one is Breakfast Special in a beautiful little box and then there’s five different books. It tells the same story in five different cities of a man waking up and getting breakfast. So it’s about location, time and space. Again, I think this is photocopy and rubber stamp, and in terms of production it’s absolutely crazy. MG: It’s simply stunning and when you look at the design and the composition, well it’s just gorgeous isn’t it? AB: The use of white space. It has a rawness to it, and it was his approach to typography that got me into the way of working that I was developing with letterpress and photocopying.

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Atlas 3 - Jake Tilson

MG: I just love the hand-done elements, with a grey crayon and then a big pencil X. A zero and a red crayon round a tube station sign and not worrying about ‘Oh I might fuck it up, I’ll just do it anyway’. AB: Yeah. I think the edition size of this was quite small. So a lot of hand work was going into each one. You know I think in terms of seeing this work and then a lot of my stuff had a similar feel in those days. MG: I love the soft, squidgy cardboard box as well! So moving on, what’s next? AB: Fuel. They were at the Royal College. When I got into my second year, Fuel all appeared in the first year. It was Stephen Sorrell, Damon Murray, Peter Miles and Nick Foley-Oates. These four lads appeared in their boiler suits and started doing this magazine, and it was just incredible. I’m not sure how much they’d planned but they just started doing some amazing stuff and it was it was very raw and had a handmade feel to it, and the subject matter was much more challenging. MG: I love this ‘a challenging new magazine - Bold Dynamic Confrontational’ AB: Yeah, they definitely had an agenda! MG: They obviously made some noise. Created some hype, but justified? AB: Yeah, I suppose the year above me was Jonathan Barnbrook and GTF and the year above them was Why Not Associates. But then when Fuel arrived they seemed to be coming from a completely different angle to everybody else. At the time they were making friends with the artists that turned into the YBA’s (Young British Arists).

MG: Did you talk to these guys about what they were doing? AB: Yeah, but because there was a gang of four of them they were quite self-contained, but always very funny. Obviously I wasn’t in their gang as I was the year above and I wasn’t as such good friends with them as I was with Andy, Squeal and Nigel GTF. I was really good friends with them. So, when Fuel arrived it was like something different is happening, definitely. Yeah, and then they went on to publish their own book a couple years after college and it was quite intimidating really - their success! (laughs) MG: Yes. Just being a gang is something! You don’t really even have to do anything do you? AB: They had a very definite stance and they had a real agenda. MG: And did that seem to be one that was popular within the school? Or were they railing against things? AB: I think they were all St. Martin’s people. So yeah, I remember they didn’t do any of the set briefs or anything like that. They were not playing the game. MG: How did you feel as a Northerner in this scenario at the Royal College. Was that ever a thing? Was it an issue for you or for other people? AB: I think it was. Andy Stevens was from Sheffield, and there were quite a few of us. I think all the Northerners stuck together and they felt like the coolest bunch. Creating their own culture and some of the Southerners didn’t have that strong sense of identity. It was the early 90s. Stone Roses and Happy Mondays and all that stuff going on as well. So it felt like being part of the cultural zeitgeist.

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Bound Image - Jake Tilson

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MG: Yeah. Top of the World! It was a good time to be Northern. For me coming from East Anglia I’d never experienced anything to do with the North, South divide until I went to study in Leeds, and then people were calling me a southerner. But there isn’t a joined up identity, a sense of Southernness I don’t think. Not in the same way there is in the North? AB: I suppose there is a London identity. But I think things were just a little bit more entrenched in those days. It defined you a bit more maybe than it does now. MG: I think probably at that time we had much more awareness of tribes and groups, and it was about who you belonged to and which gang you were in. I think that now with the Internet it is much more disseminated now and hybridized. AB: Yeah, everything’s a combination of everything now. Whereas then things were much more specific and youth culture was ‘are you a Goth, are you a Raver? No I’m not a New Romantic, I’m a Futurist.’ There was a difference. MG: Interesting then that the gang behind Fuel were making a magazine. In some ways, making a magazine can be seen as being a bit of a, ‘what are you messing about with..., that’s not really Art is it?’ But when you look at the content of this and think of the reference to the YBAs. It’s magazine as an art form, isn’t it? It’s incredible. You could have said ‘are they dumbing down, are they selling out?’ But clearly they weren’t. AB: They were creating a new way of doing things and it was independent. Self-published. It just seemed like they were coming from a completely different way of doing things.

They were creating

a new way of doing things and it was

independent.

- - -

Self-published. It just seemed like they were coming from a

completely

different way of doing things

- Read In Peace -

Atlas 4 - Jake Tilson

MG: It goes back to what you were saying about multiples as well. The impact you can have as soon as you start turning out more than one of the same thing (noticing that sense of repetition here and we’ve got this great thing going on here to really send the message home). AB: I think it’s using that graphic language and combinations of classic typography and stuff off the street. Every time they produced a new publication it was a bit of a moment and ‘oooh what are they gonna do for this one?!’. But, I’m really pleased I’ve hung onto all of this stuff. I’ve got the first large format one they did aswell. That very first one was called Girl and it was very impressive, especially for a bunch of first years students to make. MG: So, what’s next? AB: This is Stealing Beauty. So this is a few years later, an exhibition at the ICA. This catalogue was designed by GTF and the exhibition was the culmination of a lot of people from my generation. It was a multi disciplinary show of fashion, architecture, design all put together in this amazing catalogue. A classic bit of GTF design from 1999. I narrowly missed out being in this exhibition. MG: How come? AB: I think I was on the shortlist, Claire Catterall curated it, but I ended up not being in it and I really wish I had been in this exhibition. Maybe I was just a year or two off it. I remember going round it and it was a very Royal College kind of a vibe. All of this and the production of the exhibition was really lovely. The whole idea was taking things from the everyday. But then I was in this exhibition called Powerhouse UK that was in Horse Guards. MG: It was such an exciting time. New Labour and

everything. It seemed like a really exciting time for design too. I remember even Homebase were doing a whole range of things where they were working with designers and you could buy things like Anish Kapoor tea towel holders for your kitchen or something like that! Amazing times where the hierarchy seemed to be flipping around. AB: Gary Hume doing prints for Habitat and stuff like that. It was different time! (laughs) MG: In terms of your work at the time and where you were at. Living, working in London, a few years out of the Royal College. Was the gallery, exhibition route part of your practice? AB: Yeah, it was just beginning really. When I left the Royal College there was Zwemmer Bookshop at the end of Long Acre and they had little cabinets where you could put small press books and stuff like that. So I made work to go in there. Then there were the Small Press Fairs and things like that. So slowly I built it up. Kemistry Gallery opened and that started to become a centre for people having exhibitions. Then there was this little shop called Concrete Hermit at the end of Redchurch Street and I sold stuff there, and at the ICA Bookshop. Then it just slowly, slowly started picking up from there. They were photocopied books, handmade little publications influenced by Jake Tilson, Fuel, Stealing Beauty, you know all that kind of making things for yourself. MG: Did you feel that you were part of something that was really buzzing? Or did you feel like you were a lone soldier out on a mission? AB: A bit of both really. Yeah, I think there were a few people doing things and you’d get invited to contribute work to projects and you’d see what everybody else had done and you’d just think it was a load of old rubbish. It all very slowly

- Read In Peace -

Breakfast Special - Jake Tilson

- Read In Peace -

Breakfast Special No.5 - Jake Tilson

developed really and I was making my own things which eventually led on to making posters and prints, 10 years later. MG: What would you like to talk about next from your mountain of ephemera? AB: A bit of Mark Pawson, I think. That would be good. I first met Mark through his Plug Wiring Diagram Book and he had a little book about Kinder Egg Toys as well. So I just thought ‘Wow! he’s even madder than I am!’ and then meeting him that took me into that whole different world as well. So looking at his stuff he had a very, very specific world-view, you know - underground press, non-mainstream, you know, quite kind of radical. I think the stuff that he made was the stuff that he made and he was he was never really looking at taking it anywhere commercially. You know, getting involved in bigger projects. I mean he was definitely in his own world. And I just connected with that - collections and making things out of collections and creating work out of obsession. MG: I love this. Contributing Electricians at the back. Not contributing artists. (both laugh) AB: Yeah. That’s pretty cool isn’t it? MG: And Rik Wind! I’d like to meet him... AB: Yeah Rik and Elvina Flower. MG: I have this book too and it is one of my all time favourites, it’s just brilliant. I show it my students all the time, and of course it’s really an interesting piece now because you’re not even allowed to wire a plug anymore. AB: Yeah, like a lot of these things they become representative of a moment or an approach and they become

much more significant than their constituent parts really. And it’s just - ‘I got this thing off a plug and it’s throwaway’. But they come become much more significant. Quite amazing really, and I think it’s just whatever importance you want to put onto things and how see your personality through things and how you make those value decisions. MG: I mean for me looking at something like this it makes me think about times when I’ve a wired plug and then I think about my Dad showing me what to do as a kid. It makes your brain jump to all those moments in life. AB: Yeah, you know kind of stripping the end off a wire and twisting it and all that stuff. Just having that physical knowledge, the skill to wire a plug and how satisfying it is when it switches itself on. MG: So what’s this other Mark Pawson book? AB: This is All My Rubber Stamps. Imagine the amount of work that went into this. Edition of 250. So this is all his rubber stamps, hand-stamped in different categories that he’s had since childhood. Custom made. Bought new. Then what you can do so is stamp your own on the blank pages at the back. So I think I gave him some stamps. Yeah, some of those are my old rubber stamps. MG: These aren’t reproduced pages are they? They are actual stamps! Look at the Elvis stamp in the middle. AB: Yeah. The King of Rock’n’Roll! (both laugh) MG: They’re gorgeous things. Every single stamp is beautiful. AB: Yeah rubber stamps, you know as an aesthetic it’s a rite of passage.

- Read In Peace -

Fuel Magazine

MG: That’s interesting here - ‘some bastard stole the front wheel of my bicycle!’ There’s a lot of underlying humour, which is really great. That mix of seriousness and playfulness. Taking something really mundane and making it magnificent. AB: Yeah, that’s definitely something that I think I connected with you know. That almost wilful weirdness. You know, looking for the obscure was always something I was interested in, going back to my teenage years, being into bands that nobody had ever heard of. Having something unique and special.

looking for the

obscure was always something

I was interested in, being into bands that

nobody had ever heard of.

AB: Yeah! Let’s talk about Stefan Marx. So he’s German. He’s bang up to date. I’ve collected quite a lot of his publications and I met him doing a workshop in Frankfurt with Eike Koenig. He does lots of drawings of aeroplanes on runways taxiing. I think he travels quite a bit. But just look at his drawings! I think his background is in skate culture and this is a recent publication of aeroplane drawings. So he just self-publishes and I think he publishes through Nieves as well. MG: It’s got a great free and easy doodle style, while at the same time the draftsmanship is spot on. AB: Yeah it’s just got that perfect combination, which gives it that unique character and style, with little individual details. In fact he’s drawn every single window. He’s sitting in an airport, looking, documenting. Looking at it now the whole idea of air travel has changed because, up until recently it was just ‘jump on a flight’ and now it’s becoming socially unacceptable. MG: Yeah, it’s a bit like with the Mark Pawson’s Plug Book, we’ll look back on this and think that’s a document of... I mean just that alone as a poster image; 6 Easy Jets lined up ...a time when we were just flying crazy. AB: I think getting on a flight and going somewhere else has been something you didn’t really think about too much. MG: And there’s been an attitude of, yes it costs 30 quid and you can get to Spain or wherever so that’s better than staying here and going camping or whatever. You’re an idiot not to! AB: Yeah. This is a book of drawings. I think it’s Berlin Drawings. It’s almost like stream of consciousness and it’s nothing like the kind of stuff I do, but it’s just got a real joy to it and you don’t necessarily have to know what any of it is. Just little moments really.

- Read In Peace -

Stealing Beauty Catalogue

- Read In Peace -

MG: Some of it is - ‘is that a dog?’ or ‘is that an ant on a skyscraper?’ (both laugh) AB: It makes you want to pick up a pen and draw. MG: It really reminds me of one of my favorite books as a kid called ‘Oh, That’s Ridiculous’. A book of silly stories and poems. The illustrations are done by Tomi Ungerer and it’s got some Spike Milligan nonsense verse in there. Both personal favourites. These crazy, silly doodles just remind me of ‘Oh, That’s Ridiculous’. And to me when I look at your work, your posters, there’s the same sense of real joy and I can see that in these as well. AB: Yeah, it’s just that you’re mining a really rich vein of stuff that takes in the every day and I suppose it’s something that David Shrigley does as well. But I think that Stefan has got an odd, odd strangeness with it. MG: I like it that it hasn’t got captions with it, so it’s not telling you what to think. It’s very open. AB: Yeah. Now this is a bit of Geoff McFetridge as well. A book of drawings. This is a recent acquisition from Nieves as well. Big Geoff you know, it’s like everything he does just seems to be amazing all the time. MG: So beautiful. I’ve always loved any work where you’ve got a real stark contrast of line, thick and thin. AB: Yeah. Brilliant. So annoyingly good. (both laugh) MG: Can I ask you about Nieves, how did you first come across them and what are your thoughts about them as a publisher?

AB: I like the idea of producing very small additions and like this one has a bit more of an elaborate production, but quite a few of the other ones I’ve got are just like photocopies or staple bound. MG: They’re a professional zine outfit aren’t they? Which is interesting. AB: Yeah they’re the kind of people that found their way of making things and making it a really eclectic combination. I approached them a couple of times and they weren’t having it. MG: Really?! What’s wrong with them? AB: I know! Idiots! MG: Idiots! (both laugh) AB: I suppose they have the people they are into. MG: Is it maybe because they are more illustration-based? I don’t know. AB: Yeah. Who knows! MG: They don’t seem to have a house style though do they? They’re very eclectic. AB: I think it’s more of an attitude. MG: Maybe you’re too famous? AB: Maybe, Maybe I’m too good for them (both laugh) But yeah, still haven’t given up hope. MG: Keep going! I stumbled across them first because of

- Read In Peace -

All My Rubber Stamps & Plug Wiring Diagram Book Mark Pawson

their App where you could download digital versions of their zines and then if you wanted to as well, you could then buy the print version. I think that was around maybe 2012/13. I thought it was a really interesting development of what was happening with zine culture and print, but in a good, genuine and authentic way. AB: It’s just that you connect with things in different ways, don’t you? And it’s almost like it’s got a kind of coolness about it. You just think yeah, they know what they are doing. MG: It goes back to that thing. I remember discovering them thinking ‘They’re cool, so I’m cool’. It’s like discovering that cool band that no-one else knows about and I’m always thinking ‘Don’t tell anyone!’. But as soon as I see someone I’m blurting it out - telling everyone I know. AB: I think it’s just finding or picking up signals beamed out by alien civilizations that you want to connect with. MG: Someone like Geoff McFetridge, it’s interesting that we’re here looking at quite a few things here with drawings. Do you think about getting in touch with someone like Geoff and saying, ‘Hey, do you want to collaborate?’ Have you ever done anything like that? AB: Yeah, we were in an exhibition together in Milan a few years ago. MG: What sort of discussions have you had with other artists or designers about doing work together? AB: I’ve done quite a bit of stuff with Michael Marriott, the furniture designer. His approach to 3D and materials is something that I connect with. But yes, collaborating with people from different disciplines is interesting. Seeing my work differently, seeing print taking on a more three

dimensional form. I’d known him since Stealing Beauty and the first time we worked together I was given the entrance to the Mother ad agency in the Tea Building on Redchurch Street to mount an exhibition. So I went in and it’s a big old industrial building, double height ceilings, vast Cathedral-like space. And I was thinking, ‘Wow! It’d be great to build some kind of sculpture.’ Thinking about stuff that I’d done on a much smaller scale on my degree at Leeds, making objects. And then I was thinking it would be great to work with someone like Michael Marriott on this and I was talking to my wife Emma about it and she said ‘why don’t you just ask him if he wants to do it with you?’ And I went ‘Oh, yeah Okay.’ You know she’s always very good at saying ‘Well, why don’t you just go and do it?’ So, I got in touch with him and we went to see the space and then we talked about building a kind of garden shed on stilts and that idea developed into a cross between a beach hut and a siege tower on wheels. So it was all cutout of ply with lots of stencil type on it. MG: It must have been an amazing momement to see it all come together. AB: Yeah, it was fantastic! Then we had a big exhibition and I think that was the first time I’d done something on that scale really. Yes, that was 2009. MG: So, I saw your work recently at the Useful, Beautiful exhibition in Harewood House near Leeds. Thinking about typographic letterforms and the use of letterpress in your posters, each individual character has quite a totemic quality to it and when scaled-up it becomes really interesting doesn’t it? AB: Yeah, I’ve always wanted to do things on a large scale. I’m now doing a big mural in Leeds in 2020 . So that again is going to link everything together. MG: I wanted to ask you one final question about working and when you are happiest. What makes you happy when you’re working and getting into a state of flow with ideas?

- Read In Peace -

Stefan Marx 64

- Read In Peace -

Definitely having time in the studio

alone. Playing music... getting to that

real moment of just being in the work.

When youâ&#x20AC;&#x2122;re making the work & everythingâ&#x20AC;&#x2122;s

connected.

AB: Yeah. Definitely having time in the studio alone. Playing music and having solid amounts of time, just getting to that real moment of just being in the work. When you’re just making the work and everything’s connected. I think because of the work I make now, I can connect all those different things, from stuff that I’ve always been interested in and I think I’ve kind of figured it all out, to an extent. Whereas before I was scratching around, when I was at college or just after, figuring out how I could make the work I wanted to make and also make a living. Then, by making prints and posters, that funds the stuff that I want to do, working for causes and things. So everything seems to all makes sense now. MG: Things take time don’t they? Which I think is a really important thing, especially for young people to be aware of. I remember as a student myself feeling a real urgency for things to happen as soon as you leave university. But, the reality is, it can take a long time. And even more so now in a world where it’s all about instant gratification, and everything is going so fast. I think print is still so valuable because it teaches us lessons about working or even living a bit more slowly. AB: Yeah, I think it’s like with the all things we’ve been looking at as well. They were all things that inspired me. Things I was really looking out for. MG: Yes fascinating to see. You can see all the connections, linking things through. What would you say are your thoughts and feelings when you see other people’s reactions to print? AB: It’s just a relief not to be on screen. Not scrolling through stuff. To actually take time to physically handle things and to look at things and appreciate that it’s much more sensual. MG: I feel like this thing called print is becoming the new media. AB: Yeah, it’s a tangible thing. It’s good to know that we’re still looking and that we like to be surrounded by interesting objects that connect in some way. MG: Nice! Thanks Anthony – Read In Peace!

- Read In Peace -

Geoff McFetridge

Itâ&#x20AC;&#x2122;s just a

relief not to be on screen.

Not scrolling through stuff.

actually take time to physically handle

things and

look at things and

appreciate that itâ&#x20AC;&#x2122;s much more

sensual.

- Read In Peace -

Adams of Rye Print Shop - East Sussex ‘Where the magic happens!’

- Read In Peace -

Read In Peace Poster - Anthony Burrill Designed especially for RIP Zine

- Raw Print Promo -

Read in peace

PODCAST Anthony’s Desert Island Reads * Birthday - Sugarcubes * Powder Blue / Cascine Park - Yumi Zouma * Cool For A Second - Yumi Zouma * Love Me - The 1975 * Paris - The 1975 * Here Comes Your Man - Pixies * One More Time - Pale Waves * Twenty One - The Cranberries * America - Simon & Garfunkel * The Exploding Boy - The Cure * This Must Be The Place (Naive Melody) - Talking Heads * Can’t Be Sure - The Sundays * Motion Sickness - Phoebe Bridgers

WORRY ZINE

Bring some light into your life with Raw Print’s WORRY ZINE. We all have worries so here’s a sure-fire way to say goodbye to your troubles and see’em go up in smoke!

Keep zines in a safe place 01 and always within easy reach.

- Read In Peace -

THIS

SUMMER

MEGan WALL 71

MEGan wALL key words: book/love/dad/people/walks/stories/mum/read/thought/grandma parents/published/art/spike milligan/drawn/dissertation/ma/nice

Megan Wall’s Instagram bio reads - viewer of views, walker of walks, eater of dinners. She also runs creative workshops and is always available for chats!

listen in peace

Most importantly for us in this context Megan is an illustrator and writer, and has created an illustrated story called ‘This Summer’ especially for RIP. Inspired by old copies of National Geographic from the Raw Print Archive she will now take you on an beautiful journey.

* After Midnight - J.J.CALE * Not - BIG THIEF * Memories Are Now - JESCA HOOP * Stretch Your Eyes - AGNES OBEL * Affection - CIGARETTES AFTER SEX * Maps - FREYA RIDINGS * Sunset Lover - PETIT BISCUIT * Elvis Presley Blues - GILLIAN WELCH * Way over Yonder - CAROLE KING * Baby - FOUR TET * Romance - EX:RE * C’est Si Bon - EARTHA KITT * I Can Change - EZRA FURMAN * Hammond Song - THE ROCHES * Pasta - ANGIE McMAHON * Swimming Pool - BESS ATWELL * Every Time the Sun Comes Up - SHARON VAN ETTEN * Sound and Vision - DAVID BOWIE * Once in a Lifetime - TALKING HEADS * Tiger Mountain Peasant Song - FLEET FOXES * Elenore -THE TURTLES * So Long, Marianne - LEONARD COHEN * Chanson d’Amour - THE MANHATTAN TRANSFER

Megan’s Playlist

Read in peace Megan’s Reading List

* BEASTLY TALES - Vikram Seth * IN THE GARDEN OF BAD THINGS - Poems by Doug MacLeod * SOMETIMES I THINK, SOMETIMES I AM - Sara Fanelli * A PICTORIAL GUIDE TO THE LAKELAND FELLS. BOOK 5 - The Northern Fells. A.Wainright * I WANT MY HAT BACK - Jon Klassen * THE NEW GHOST - Robert Hunter * ONE HUNDRED HIDEOUS HOUNDS - Faye Moorhouse * MAKE YOUR OWN ORGY - A DRAW- ON-ME SEXY TIME BOOK-ZINE - Faye Moorhouse * @megan_rose_illustration

- Read In Peace -

BOOK OF SAND by

PAUL BRAZAUSKAS 83

paul brazauskas key words: book/thought/illuminated manuscript/print/graphics/type/nice/work colour/college/picture/element/story/feel/line/ancient symbol/design/letterpress

The Raw Print Archive is regularly used to inform and inspire student projects in the School of Art & Design at Nottingham Trent University. One recent example of this is the Type Project with the Graphic Design students. Led by tutor Jess Harris she summed up the experience perfectly by stating:

Paul’s decision making process on projects is to choose ones he finds the most visually interesting and where images flow naturally. His work is constantly changing, just like the story within the Book of Sand, and his portfolio is an eclectic mix. Paul describes his creative process as a hybrid of analogue DIY methods mixed with digital processes to get the very best results.

“The students dug deep to capture the underlying themes of the selected short stories. In doing so they fully embraced the opportunity to be experimental with type, exploring the use of engaging formats and materials to further enhance the narrative. The results exceeded our expectations, many reminiscent of a one-of-a-kind artist’s book.”

listen in peace

Paul’s Playlist

* Gosh - JAMIE XX * My Cloud - GIL SCOTT-HERON, JAMIE XX * Since I Left You - THE AVALANCHES * A Walk - TYCHO * Locket - CRUMB * Everything Connected - JONS HOPKINS * Calcium - BONES * Natural Cause - EMANCIPATOR * I’ll Take Care Of U - GIL SCOTT-HERON, JAMIE XX * Space Song - BEACH HOUSE * Blue Lotus - SWEEPS * Me and Michael - MGMT * My Life - ZHU, TAME IMPALA

Students chose one of five short stories to read, deconstruct and identify key themes and opportunities for creative exploration within the text. The work of one student, Paul Brazauskas, particularly stood out to me and in the following pages you can see his interpretation of the Book of Sand by Jorge Luis Borges.

@pauliusbrazauskas

- Read In Peace -

PAUL BRAZAUSKAS in conversation with Matt Gill a.k.a Raw Print

MG: Hi Paul! Thanks for taking time out to talk to me about your love of print and I’d like to start by asking you what are your earliest memories of reading? PB: Back when I still lived in Lithuania, I remember my favourite reading usually came in the form of old Looney Tunes comics. I would ask my mum for one pretty much everytime we went out so it was really exciting when I did get one and I would rush home to look at all the drawings and read through it. Although I didn’t appreciate the illustration, typographic treatment or the physicality of the comic as much as I would now, I was always blown away at how the characters seemed to come alive on the page in a way that was different to any other media. I really liked the way the comics would age with me and become slightly tattered, they seemed to gain sentimental value. MG: Do you have any favourites books or magazines from your childhood? PB: I didn’t do a great amount of reading when I was a younger apart from the odd comic but I remember once I had moved to England it took me a little while to learn the language, so I remember practising my reading on Horrid Henry books from the school library so those hold an important place in my memory of growing up. MG: What are your thoughts about the importance of print from its physical and emotional attributes? PB: For me, print is really important in a world that is predominantly digital and taken over by new ever-evolving technology. Although it has brought us innovation and improved the lives of many, the fragility of digital technology and data has highlighted the importance of physical print for me and I think many others. There are endless other benefits of physical print from the begining of its cycle to the end; we establish a relationship with physical print from the moment we see it, we subconciously decide whether we like the feeling of it or not and we examine it much more carefully than we would if it was on a screen. I think print has become a bit of a luxury, a breath of fresh air - that old book smell we adore so much. I have personally been reading more and more since

- Read In Peace -

I started university, I find that I sink into my own world when I read and it’s a great way to relax in a world so busy, and when I finally put the book back down, I feel suitably refreshed mentally. MG: How do you like to read - online or in print? PB: I’m into my music a fair bit so I enjoy being in the 10% group of fans who love to analyse lyrics and read the exegesis, finding out everything about my favourite tracks. I sometimes find that having the knowledge of a certain track is really useful and it can inform my design work too. I also enjoy reading about politics and philosophy, I enjoy hearing different viewpoints for certain issues we face and how these issues can be resolved. I would say most of my reading comes from online articles and journals I find interesting due to availability and ease however I much prefer to read from a physical piece of print as the information will always stick with me better when I can touch and feel it. MG: Do you think print is important and relevant to your peers and your generation? PB: It’s important because you can’t really compare it to anything, print can have a certain quality you can only get from print. It tends to find its home in the real world, it interacts with the light and the objects around it and can have a certain texture which you can’t get from anything else. If I had to assume what my peers think, I would say that generally people who are interested in the arts and can appreciate beauty in everything, do appreciate the qualities print presents. Although again if I had to assume, people outside of this bracket in general aren’t really that bothered and are accepting of the new world of technology. Most of the people I know do read books and are interested in print, they enjoy the emotional attachment that comes with a physical piece of print. I don’t think that speaks for my generation though, if I had to assume I would say most of my generation prefer reading online or they get their information through means like audiobooks and podcasts. MG: Thank you Paul. Read In Peace.

- Raw Print Promo -

Carelessairlines

CARELESS AIRLINES X RAW PRINT LISTEN IN PEACE SOUNDTRACK AVAILABLE with LIMITED EDITION RIP ZINE Listen at carelessairlines@bandcamp.com

RAW/iiiiii\iiiii/iiiiii\ PRiNTiii/iiiiiiiiiii\iii

iiiiiiiiiiiii/iii/iiiiii\iii iiii/iiiiii\iiiiiiiii/iiiiiii iiiiiiiii\iiiiii/iiiiiiiii\ii iiiiiiiiii/iiiiiiiiiii\iiiiii iiii/iiiiiiiiii\iiiiiiiii/iii \iiiiiiiiiii/iiiiii\iiiiiiii iiiiiii\iiiiiiiiii/iiiiiiiii\ iiii/iiiiii\iiiiiiiii/iiiiiii iii/iiiiiiiiii/ARCHivE

RAW PRINT ARCHIVE

The Archive is in the School of Art & Design at Nottingham Trent University City Campus in the Barnes Wallis Building (room 006) on Shakespeare Street. The Archive is there for anyone to use. It is a creative space in which to work, play and be inspired. It is also a quiet space in which to read in peace. If you wish to use it anytime or book in for creative workshops and projects, please just get in touch with Matt Gill via email matthew.gill@ntu.ac.uk or follow @rawprintarchive So please join us and Read In Peace... ...All Welcome!

iiiiiiIiiiiiII

is a unique library of zines, magazines and other fascinating printed publications with over 5000 items, over 500 titles, over 50 genres spanning over 5 decades.

Here are just some of the titles we have:-

Colors Dazed

Hotrod i-D

Interview Manzine

Marmalade Nest NME

Private Eye

Sleazenation Smash Hits The Face

Wallpaper

- Read In Peace -

Raw Print is a platform that celebrates the exciting and dynamic nature of independent publishing through magazines, zines and zine-making. Founded by Matt Gill in 2010 to host Zine Fairs it strives to champion indie print. Matt is a designer and Senior Lecturer in Visual Communication within the School of Art & Design at Nottingham Trent University. Raw Print includes an Archive of zines and magazines at NTU, student magazines and other print projects, the Notts Zine Library (at Nottingham Contemporary), as well as publishing projects such as Metazine and Sculptorvox magazine. The Archive and Zine Library houses creative print and publishing materials in order to meet the objectives of providing exciting and innovative workshops in zinemaking, book-binding, books arts, publishing and print. Raw Print also assists in hosting events including the Notts Zine Fair, lectures, and podcasts. Zine Power is a practice that seeks to provide Zine Therapy, improving mindfulness, wellbeing and mental health. Current Zine Power projects and workshops have been providing positive and creative outlets to support and promote better mental health and well-being for students through making and reading zines. If you are interested in getting involved or would love to contribute to future issues of RIP ZINE please email: rawprint1st@gmail.com or DM @raw_print. Read In Peace.

- Rip Zine -

TURN

roll of honour

RIP ZINE is designed and edited by Matt Gill. DUST JACKET POSTER designed by Anthony Burrill. PUBLISHED by Raw Print Â©2020 The opinions expressed in this publication should not necessarily be considered to represent the opinion of the publisher. PRINTED by Dizzy Ink, Hayman Creative and Rose Press. PAPER supplied by GFSmith and Fedrigoni. MANY THANKS to the contributors: Nick Taylor Ella Tarantonio Joel Hague Diogo Oliveira Anthony Burrill Megan Wall Paul Brazauskas All images reproduced with the kind permission of the above. All copyright owned by the above.

TUNE

IN ZINE

Thanks also to Sarah Mcconnell, Sarah Lewington, James Flower, Dan Hodgett and thank you Dear Reader! ENQUIRIES please contact rawprint1st@gmail.com

OUT

INSTAGRAM @raw_print @rawprintarchive www.raw-print.com

- Read In Peace -

READ - Read In Peace -

IN PEACE 01