That Personal Touch: A Celebration of Zines

For International Zine Month, a special interview with zine-maker Tum Wuthipol Ujathammarat

zines by Tum Wuthipol Ujathammarat

Every July, zine makers celebrate International Zine Month, a global shoutout to indie publishing! It was launched in 2009 by zine maker Alex Wrekk (creator of Brainscan Zine) to highlight the culture and creativity of zine making. Zines (short for fanzines) are DIY, self-published booklets often made just for the love of creating—not for profit. They’re raw, personal, expressive little publications that can be made at home using nothing more than paper, pens, markers, and a dash of imagination. Think of them as mini-magazines packed with big ideas—whether it's art, stories, activism, or personal experiences. Zines have roots in underground movements and continue to thrive in subcultures and creative communities. They’ve been a voice for science fiction fans since the 1930s, powered the feminist riot grrrl scene in the 90s, and provided platforms for LGBTQ+, and countless other voices that often go unheard. Zines don’t just tell stories—they start conversations and spark movements.

Today, zines have become a powerful creative outlet for independent artists—especially illustrators and photographers—who use folded pages as a canvas for their ideas. Across major cities, zine fairs are vibrant annual gatherings where creators and collectors come together to share, connect, and celebrate the art of self-publishing. In Asia, zines have found a natural home at art book fairs, where local makers elevate the format with meticulous craftsmanship and high-quality finishes. Zines that blur the line between publication and art object. Nearly a century since their beginnings, zines continue to build communities, amplify radical ideas, and give creators the freedom to make exactly what they want—no rules, no filters, and no pressure to sell. Because in the world of zines, everyone has a story worth telling.

bkk UNZINE had the pleasure of catching up with Tum and he was kind enough to share with his thoughts on zines, his own history with the medium, the state of the artform in Thailand and the upcoming printPRINT event slated for later this year:

For the uninitiated, can you give a brief description of what a zine is and tell us what the artform means to you?

Zines mean so much more to me than just small booklets or art projects—they’re a powerful outlet for my creativity and a deeply personal form of self-expression. They give me the freedom to tell stories and explore ideas visually and emotionally, without the constraints that often come with more traditional or digital platforms. Through zines, I’m able to push my photography beyond its digital presence, transforming it into something tangible that people can hold, flip through, and connect with on a physical level. That kind of interaction creates a unique intimacy between the work and the viewer—something that social media, no matter how accessible, can’t truly replicate. More importantly, the process of making zines has become a therapeutic practice for me. It’s a space where I can confront and work through my mental struggles, giving shape to feelings that are often difficult to express in words. Every page becomes part of a personal journey, turning vulnerability into art. For me, zines are not just about sharing—they’re about healing, exploring, and connecting on a deeper level.

Bangkok-based artist Tum Wuthipol Ujathammarat

Tum Wuthipol Ujathammarat is a Bangkok-based self-publishing artist, graphic designer, and curator behind Aperture Brought Me Here and Wuthipol Designs. His work explores the relationship between photographic narrative and conceptual documentary, using publication design as a medium to push photography beyond its traditional form. Through curated photography collections in print—primarily photobooks and zines—he investigates how images alone can tell stories, free from the influence of text. While Aperture Brought Me Here and Wuthipol Designs serve different purposes, they intersect through a shared focus on storytelling, craftsmanship, and the interplay between photography and design. After years of working on brand identities and marketing materials, Tum found his creative spark in publication design—a passion that continues to shape his graphic design practice and lead to exciting commissions both in Thailand and internationally.

He is also the co-founder of printPRINT, an independent self-publishing fair created in collaboration with Vacilando Bookshop. The fair was founded to support and strengthen the creative community by offering artists a physical platform to exhibit, connect, and shine. printPRINT brings together a vibrant mix of book designers, zine makers, independent printers, distributors, bookshops, and creatives from across the print spectrum—from handcrafted publications to industrial-scale productions. The event not only expands sales opportunities beyond digital platforms but also fosters an inclusive space for printmakers of all backgrounds to exchange ideas, share their work, and build connections—both within Thailand and internationally.

“Zines stand apart from other forms of publication primarily because of their deeply personal and DIY nature… this often results in highly experimental, expressive works that reflect the creator’s voice in a raw and authentic way.”

What about zines do you think separate them from other forms of publication? Is it their personalized nature that gives their readers more of a connection to the author/artist?

Zines stand apart from other forms of publication primarily because of their deeply personal and DIY nature. Free from the constraints of traditional publishing, zine makers have full control over both content and form. This often results in highly experimental, expressive works that reflect the creator’s voice in a raw and authentic way. I do believe it’s this personalized quality that creates a stronger connection between the reader and the creator—it feels more intimate, like receiving a handmade message. For example, one of my own zines—a popsicle-shaped publication—invites not just reading but physical interaction, allowing readers to engage with the narrative on a tactile level. I’ve been exploring how form and content work together in zines, and how this relationship deepens the overall impact and resonance of the work.

How did you get into zine making yourself? What about the medium attracted you to make your own?

I got into zine-making—a decade ago—during my master’s in communication design at RMIT University in Melbourne. Through my thesis research, I discovered a vibrant zine culture and became intrigued by the idea of publishing without conventional rules or gatekeepers. What initially drew me to the medium was its freedom—both in format and in expression. Unlike commercial design work or academic research, zines gave me the space to explore ideas without needing validation. While living in Melbourne, I created a photography project called Melbourne Brought Me Here and decided to turn it into zines. That experience—showcasing and selling them at a zine fair—solidified my love for the medium. Zines allowed me to merge my design and photography practice in a way that felt both personal and experimental.

Are there any misconceptions about zines you wish the general public would understand better?

One common misconception I’ve noticed is the belief that zines must strictly follow traditional formats—that they should always be cheap, lo-fi, or even free. While these roots are important and have shaped zine culture, I see zines more as a custom than a rule. The true essence of zine making lies in creative freedom. That freedom includes the choice to use unconventional formats, specialty papers, or more tactile, higher-cost printing methods like risograph or letterpress. Yes, this can raise the price of a zine—but that doesn’t make it any less authentic. If anything, it reflects how expansive and expressive the medium can be.

It’s also important to recognise that zine making looks different around the world. Zines in Asia, for example, often reflect distinct design sensibilities, cultural references, and material choices compared to those from the US or Europe. These regional variations are part of what makes zine culture so rich—it evolves through local context, not by following a single global standard.

popsicle-shaped zine by Tum Wuthipol Ujathammarat

We’ve noticed many wonderful zines being produced in Thailand of late… what are your thoughts on the state of the local zine community and the availability of outlets that feature this artform?

Thailand’s zine community is small but steadily growing. While zines have long existed in underground music and art scenes, in recent years they’ve expanded into more artistic and design-driven spaces. This shift has been supported by initiatives like Spacebar Zine and the Bangkok Art Book Fair, which have helped cultivate a more visible, engaged community of self-publishers. However, the availability of outlets remains limited. In Bangkok, places like Spacebar Zine, Vacilando Bookshop, Happening Shop, and Neighbourmart offer spaces where zines can be discovered. Chiang Mai has Den Souvenir, which leans more toward underground and street-style zines. Still, more consistent platforms—whether physical or online—are needed to help sustain this momentum. What’s promising is that more artists, especially photographers and illustrators, are embracing zines as a way to share their work. The format offers a more accessible alternative to selling large prints, and it allows creators to reach younger and more diverse audiences. It’s a meaningful shift that could help grow the culture further, especially if more outlets emerge to support it.

Are there any notable zines or creators you’re following currently whose work you wish was more recognized?

Recently, I visited the Thailand Printmaking Festival at Central Chidlom and came across a number of emerging talents in the local zine scene. One standout was a young designer who created a zine box set for her thesis, exploring how chair design culture reflects and influences Thai ways of living. Although the box set isn’t for sale, I was truly impressed by the depth of her concept and execution—her Instagram is @_oceannbluee.

Another exciting discovery was the illustrator @praefueng.comp, who has developed a series of handmade zines with a graphic novel–style narrative. There's also @japoc.invert, a young designer consistently producing zines, including a fascinating series themed around apocalyptic survival kits. In addition to individual creators, studios like Parking Lot Press are playing an important role in nurturing the self-publishing scene, actively collaborating with various artists to produce zines. There’s no shortage of talent in Thailand’s zine community—but as I mentioned earlier, a major challenge remains: without more platforms and outlets to showcase and sell their work, it’s difficult for these artists to sustain their practice.

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Be sure to visit the Taiwan Pavilion during the Bangkok International Book Fair from 27th March through 31st March 2025 at the Queen Sirikit National Convention Center.

Beyond BL and GL, the pavilion will feature nearly 50 Taiwanese comic works, spanning various artistic styles and themes. Many of them have been gaining increasing international recognition, with successful licensing deals across global markets. Notable authors include Gui, Daily Greens, and Rimui, among others.

MAE will be in attendance as a speaker as well as for signings and a special LIVE DRAWING session.

See the full event schedule for TAIWAN COMICS (@T01 in the International Books Zone) here.

This interview was made possible by the Taiwan Creative Content Agency (TAICCA). Please visit the links below for information on many more exciting projects from Taiwan.

Read the interview with fellow Taiwanese artist Monday Recover, also scheduled to attend the Bangkok International Book Fair, here.