Describe your zine style. What can we expect to find at your table?
I have a few different comic series. Ebb and Flood is about a fictional little sea side town called Beacham Bay. It’s comprised of stories that are sort of rooted in magical realism where the local ghosts get mixed up with the town folk. It’s kind of a collision of ghost stories and small town gossip. The Business of Monkeys started as a collection of sketchbook images, but #2 morphed into a color comic book made up of short one to four panel strips. I managed to pack 37 comics into eight pages. Milk and Carrots is an anthology series featuring lots of cool artists like Malachi Ward, Matthew Sheean, James The Stanton, Grady Gordon and Jen Oaks to name a few. The stories are all over the map and weird and awesome. I’ve also recently gotten into screen printing T-shirts so I’ll have a few on hand. I’ll have some original seascape paintings as well. Oh and postcards and buttons.
Where do you work on your zines?
I’m pretty lucky to have a studio in my house, and it happens to be in the attic with a really unique view of the Golden Gate Bridge. I’m a big advocate of carrying my sketchbook everywhere and before I had studio space I used to spend hours at coffee shops.
What are your three favorite small-press/DIY publications?
I love Paper Cutter by Tugboat press and it inspired me to start Milk and Carrots. Elf World from Family Style is a really great anthology. Expansion by Matthew Sheean and Malachi Ward is just a beautiful series and pretty much everything those two make I will get my hands on. I just picked up a copy of I See All from Deth P. Sun at the East Bay Alternative Press and Zine Fest and it is absolutely epic in it’s encyclopedic scope of capturing hundreds of objects from A-Z.
What advice would you give to a first-time zinester or to an aspiring zinemaker?
Just start. Don’t worry about making it pretty or perfect or good. It will start off a little bumpy and it will get easier and better as you go. I’m still on that path. I always think of how different Charlie Brown looked in the first years that Shultz started. Cerebus was really rough in the beginning, but Dave Sim evolved into an amazing drawer. So maybe we should just be optimistic that we’ll all get better the more we work.
What’s the best thing that ever happened to you because of zines?
The coolest side effect of making comics and zines is just getting to know other artists and writers who are making things. Most artists work in seclusion, so zine fests are a really fun way to get out there an meet some cool folks.
For more of Brian’s work, check out his site over here!