caused discovery of new unknown possibilities and solutions as a result of breaking rules by people who were not aware of any rules. With its unique attitude to culture, punk spread very fast across the world and still expands. Punk in various countries was about the same – creating its very own culture, but it started for slightly different reasons and transformed differently under varied social and political circumstances; however it was always about the same concept ultimate independence. Fanzines very quickly became the perfect tool of communication for punk culture. As a self-publication, fanzines perfectly suited the DIY ethos and young people started to communicate through them, sharing information and documenting their movement. Very limited facilities (usually only paper and glue, plus access to a photocopier or another printing source) and limited knowledge, created a new, very recognisable form of aesthetic. “Yet, it remains within the subculture of punk music where the homemade, A4, stapled and
photocopied fanzines of the late 1970s fostered the ‘doit-yourself’ (DIY) production techniques of cut-n-paste letter forms, photocopied and collaged images, hand-scrawled and typewritten texts; to create a recognizable graphic design aesthetic. The employment of such techniques and technologies has had an impact on an overall idiosyncratic and distinctive visual style affiliated with punk fanzines.” (Triggs, 2006)
Although the authors of the zines used very similar techniques and tools, the individuality of styles is vast. We can also observe how some authors learnt from their experience and how their zines developed according to their growing knowledge of graphic design.