BLEACH Magazine

Role_

Graphic Designer

Layout, Cover

Editor, Organizer

Typeface_

handlettering, Oriya MN, DIN Alternate

Size_

11.3" x 14.9" digital tabloid 

Pages_

17

Description_

The tabloid newsprint publication, printed by ​Newspaper Club​, is a collection of rapid visual responses to the U.S. government's treatment of the Covid-19 pandemic. The process to make the publication was physical, and later was digitized for print; I bleached paper to get the layering and color effects, I created hand-cut lettering, and I made photographs of found latex gloves for the artwork. The magazine’s first and second print run sold out, we raised over $2000 for charity, and the publication was acquired by the following archives:

.The Center

.SF Public Library Community Time Capsule

.College of Creative and Liberal Arts SF State

.Life in Quarantine; Stanford University, Poetic Media Lab, and Center for Spatial and Textual Analysis

Published in May 2020 before the nationwide protests against police brutality began, Bleach features contributions from students at SF State University. In the foreword, Assistant Professor Ellen Christensen described the project as a vehicle for anti-racism. “The embrace of white poison by racists and nationalists is fundamentally ironic, given the long history of racist and colonialist associations of whiteness with purity,” she wrote. “Both incomprehensibly violent, and fundamentally bizarre, this current political moment necessitates subversive tactics.” All proceeds went to the Partnership with Native Americans’ Coronavirus Emergency Response Fund and The Bail Project.

Bleach is reminiscent of the neon immediacy of April Greiman’s late ‘70s / early ‘80s WET magazine covers. Its intent, however, is practical, political, and personal rather than recreational. It draws inspiration from Shira Inbar’s collaborative collection of visual responses to U.S. border detention, SEPARATED / SEPARADOS

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front and back cover

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artwork by Maryam Liaghatjoo (L) and Butch Lazarian (R)

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foreword written and designed by Ellen Christensen

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artwork by Samantha Sias (L) and Anna Meyers (R)

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artwork by Mina Kasirifar (L) and Chalermpol Jittagasem (R)

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artwork by Annie Ung (L) and Audrey Graves (R)

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artwork by Michael Haritos (L) and Briana Gardener (R)

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artwork by Ting-Fang Cheng (L) and inside back cover (R)

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artwork by Mena Kamel

latex glove, manipulated paper

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process