I thought a good way to reflect on my final piece and the journey I took to get to this, it would be good that I talk through each element in detail. I think, although art is personal and should be left to interpretation so that it can feel more personal to its audience, especially for a project like this, I want to really discuss my thoughts and personal reaction to this zine. 

So let’s start with the name:

As I have mentioned previously, I really like the way in which the title of the zine can be interpreted in many different ways such as ‘Perfect’, ‘Imperfect’ and ‘I’m Perfect’. I think it makes it interesting in the way people may thing its called ‘Imperfect’ until they read it and understand the message that we are all perfect. Furthermore, I think that it is cool that it is a talking point amongst my ‘audience’ as to what it is. All in all, I really love the name and I think it really defines exactly what I want to portray through my artwork in my zine. 

The front cover.

I chose to do two different front cover images and also binding styles. Now I know that this is completely unconventional, however, as I looked at more and more zines, and zine-makers blogs and book binding addicts, I found that a lot of them bind them themselves, and they’re all slightly different. I LOVE this element of hand bound books/zines, because when you hold one and flick through, you really feel that someone has put their all into making it special and unique. I understand that considering I have only made two physical copies, that it just seems like I couldn’t be bothered, but I think that if I was to mass produce ‘IMPERFECT’, then they would all look completely different, yet still hold the same information to empower someone. I don’t know why, but this aspect of my zine really pleases me, especially as I put a lot of thought into it. 

The chapter cover pages:

What I mean by these, is the image of the girl, photographed in black and white (Photographer unknown) and hand developed by me. I had a lot of fun developing these and experimenting with revealing and choosing not to reveal certain elements of the image. The reason that there are four of these images throughout the zine, all different, is that each image gets clearer, stronger and shows more and more. I felt as though this symbolised the way in which my reader grows and becomes stronger and more empowered as they go through the story of my zine. I really like this touch as it creates familiarity and repetition through my zine which is important when creating something like this. I like it even more because I think these images really bring a story forward to the reader and more and more meaning behind the themes and artwork that feature within the zine. 


Empowered woman, empowering women.

To further and follow these chapter front covers, I wanted to add in my ‘strapline’/’slogan’ in a different way to most magazines. I wanted it to follow the images of the woman getting stronger and really remind the reader to be empowered and strong and remember how perfect they are.


My first ‘article’:

I wanted to start my zine off really smoothly and slowly with some gorgeous images of women loving themselves, being happy with their bodies. I really love these photographs and the way in which they are edited as I believe they really show beauty, femininity and girl power. 


I really like the togetherness of the two female models, just relaxed and happy within themselves.

(More information about the photoshoot, concept and editing of the images in blog posts ‘GIRLS (photoshoot)’ and ‘GIRLS (photoshoot editing) )

The tulips:

Following this, I really wanted to carry on with this vibe and tone of the magazine and focus more on the illustration side of things, show the less intimate parts of the girls, but focus more on the femininity of the girls. I love the way these illustrations and photographs turned out as they really embody what the whole zine is about. 



Following from this, I really wanted to involve the discussion about female genitals, periods and body hair in a way that really dismisses the strange ‘we-don’t-talk-about-this’ attitude that society, particularly men have. 

As I wanted to do with the rest of my zine, I want to take what is beautiful and natural and amazing about a female and really emphasise its beauty and show that is really is something to be proud of and call ‘beautiful’ and ‘perfect’. 

I decided I wanted this chapter to be varied in media and I really wanted there to be a textural and tactile element to it.

Therefore I created the female genitalia using hand knitted pieces of material and pearls, two of the mostly ‘womanly’ things. I also wanted to create really cute and diddy illustrations really combatting the strange phobia people have of natural body hair. I also used photography and the symbolism of a flower as a period and also a pomegranate as female genitalia. 

All I wanted to do within this chapter of my zine was to create beautiful imagery and take away the horrible way it can be portrayed my SOME men. (‘Some’ being the KEY word as I do NOT want to shame men as my zine looks to empower all<3 )



(For some reason, the colours within these images have changed as they have been added to my wordpress media library, please see the IMPERFECT ZINE at the end of this blog post)



After having experimented with oil pastels to portray the female form, I really wanted to do some illustrations from life, of some close up curves and undulations of the female form. My concept behind this was to remove the identity of the body parts, and just have them as shapes being depicted with beautiful tones and hues of pink and just be beautiful. I really believe this proves the beauty that lies within the female form, no matter how it is to a personal woman. She is beautiful in every way. 


The Back Cover:

I wanted the back cover to be simple and follow the theme of the zine, (with the same background as the inside front cover) and I wanted it to feature a giveaway that I feel represents the message of my zine. I made little credit card sized tokens that have the name of the zine on ‘IMPERFECT’ and also the word ’empowered’ as a reminder to remember the messages of the zine, no matter how long ago they read it. I thought it would be a really sweet giveaway to have as it really carries on the message that my zine was trying to show. 

My thoughts and reflections of my process:

I am really happy, most of all, with my progress where illustrating is concerned. I really found illustration a daunting prospect and did not think that I would enjoy it as much as I did.

Furthermore, I feel as though this project has really helped me to work hard and all the time to get a project finished. I think that having to make two physical copies, with my idea of having a really hand rendered zine was a large task, but I am really proud of how I did and that I managed to make them. 

A thought I have had is that my illustration style really developed and improved throughout the course of this project and I am so happy that it did. However, I do feel ‘sad’ that I did not manage to fit it into my zine to the extent I wanted. This was because I did not feel that my style fitted with the feminine, elegant and beautiful theme of my zine. I do believe though that I will never lose this developed style and I would like to carry it on further. Having to decide against portraying a certain style of mine was an important lesson to learn because as an artist/illustrator, you have to be able to embody more than one style and be versatile and make the right creative decision to fit the tone of the brief.


My Final Zine –



All work by Kynza Kendall-Jones




My initial thought, was to make a flat plan by hand. I split a piece of paper equally into 32 sections, for the 32 pages for the 16 double spreads. I then put the front cover, back cover and inside covers and content pages on the back of this piece of paper. 

I found doing a flat plan hard, as a few of my pages are tracing paper, therefore technically I would have to record the backs of these pages as part of my flat plan, so that I knew exactly what was going where. This then meant that there would be quite a few extra pages, but I did not want to count these blank tracing paper pages as part of my ’12-16 double spreads’ so I made two flat plans:

My hand rendered flat plan laid out every page that can content on, and my digital flat plan took into account the extra ‘blank’ pages. 

I found that doing these flat plans made me really think about the flow and the story that I wanted to portray through my zine. I initially really disliked the idea of doing a flat plan prior to having finalised each page, however I now understand how important it is and how it helped me know about colour palette and the way in which I should portray my theme.

Here is a copy of my original initial hand rendered flat plan:


Unfortunately, it probably makes a lot more sense to me as I used a little code and drawings. As opposed to my digital flat plan that contained actual thumbnails of each of my pages:


Obviously I understand the importance of having a digital flat plan with accurate thumbnails so that lots of people can understand what the magazine/book/zine would look like, however, I actually found that doing my original hand rendered flat plan came in so useful throughout the making of my zine and it allowed me to test the flow, rhythm and pace of my zine before laying it all out digitally. 


All work by Kynza Kendall-Jones





Although initially, I really did not think that Russian Constructivist history would be relevant to my project, as I looked deeper, I found that a lot of the strength and colours used within their posters and propaganda related directly to my work.

Here are some examples of the work I really like:

Image result for russian constructivist posters

(Figure 1)

Image result for russian constructivist posters WOMEN

(Figure 2)

Image result for russian constructivist posters WOMEN

(Figure 3)

After researching deeper, and thinking back to my trip to Bratislava, Slovakia in which I did a ‘Communist Walk’ where I learnt about all the ways in which the people, the town and the architecture were influenced and effected by Communism and Russia at the time, I found a lot of things that I thought I could use within my zine. 

An obvious aspect of the propaganda and posters is the colour red. The colour represents so many different moods and ideas and emotions such as: Power, Passion, Love, Hate, Anger, Sex, Menstruation. All of these ideas come into my work as I try and defy insecurities and empower women. I think seeing the impact that these posters make, resonates with the impact that i am trying to create by tackling these themes that relate to the colour red. 

On my trip to Bratislava, I saw a lot of statues and sculptures of women. The tour guide pointed out the largeness of the women’s hands and feet. He explained that this was to show their ability and the importance of them working. Women in that time would be working in the same way as the men, due to the Communist Ideals of equality and utilitarianism. Clearly, it can be seen that these cultures that have gone through Communist Rule, are going backwards in time. People of all kinds are losing rights and appreciation in the eyes of the rulers. I think this is something I am combatting when I am demonstrating the power of women within my zine. 

Furthermore, the poses and strength that is portrayed within these posters reenforces the ideas that  I am demonstrating within my zine.

I decided to take influence from the fists and strong hands that are seen within the posters and propaganda and turn them into a repetitive feature within my zine to really emphasise the message I am trying to give to my readers.

(Figure 4)


I really wanted this symbol to become a repetitive feature to be in my zine to create familiarity and be like little reminders between the ‘articles’ of my zine to improve the rhythm and pace of my zine. I feel as though it works well for this, and again, it adds to the hand rendered feel to my zine, as each one is slightly different.




Figure 1 – “Russian Constructivist Poster.”

Figure 2 – “Red Star Over Russia Exhibition Poster.”

Figure 3 – “Russian Constructivist.”

Figure 4 – By Kynza Kendall-Jones




Picking a front cover for my zine is very tricky in my opinion. This is because I feel as though I tried to fit in a variety of subjects within my zine, that I don’t know whether one photo can summarise the zine affectively. Furthermore, I am not sure whether I will be happy with just having a photograph on the cover, as I really don’t think that this shows my love for the hand rendered and tactile style that follows in the rest of the zine.

After having thought about this, I decided to try out a couple of photographs with the masthead and then I thought about printing this, and then I wanted to add some illustrations and texture using embroidery or drawings on top of this.


(Figure 1)


(Figure 2)


(Figure 3)


Personally, I really like the way Figures 2 and 3 work with the masthead and the theme of my zine. I am not sure about Figure 1 because the white outline of the ‘i m’ doesn’t show enough on the white background. Due to this, I think it might be interesting to have different front covers for my physical covers. I really think that this would make the zine feel more personal and hand rendered and personal. As if it’s a personalised message to the reader.

I then tried to edit Figure 2 so that it matched the colouring of the masthead:

(Figure 4)


(Figure 5)

I don’t think this worked though to change the colour palette of the photograph. Then I decided to change the colour of the mast head.


(Figure 6)

(Figure 7)

I really like the way Figure 6 looks with the pale pink mast head. I much prefer the pink than the red as I feel the red is too dark and bloody as opposed to the beautiful pink elegance that follows within the rest of the zine.

Having chosen this paler colour for the masthead, I decided to try this same colour for the other cover.

(Figure 8)

I really feel as though this almost seems to stand out more and it creates such a beautiful sense of femininity, softness and contrast within the photograph. I think this works better with what follows in the zine, as I ended up using this hue more than the ‘hot pink’ throughout the rest of the zine.

So my chosen final covers are:

(Figure 9)

(Figure 10)


All work by Kynza Kendall-Jones





After working with Oil pastels within my previous female form illustrations, I decided I wanted to work with them again. I wanted to use them to create beautiful shapes and remove the identity of the subject so that it was just seen as beautiful. The subjects I chose were rolls of skin or fat, or whatever you’d like to call them. 

(Figure 1)


(Figure 2)


(Figure 3)


I really like the way these oil pastel illustrations turned out. I love the way that the colours that are seen throughout the zine are used within these illustrations. 

I think I would like to use these illustrations within my final zines, however due to the way oil pastels work and are manipulated with heat and movement, it would not be possible to have them naturally in my zine, therefore they will have to be scanned in and printed for the physical copies. This is unfortunate but, it is something that you learn and realise when it comes to physical production.


All work by Kynza Kendall-Jones




I really enjoyed working with oil pastels and I used a technique that came naturally to me, not inspired but other artists which was very interesting to do, as I was able to see how I worked naturally. Highlights and shadows are something I have always loved focusing on and working with, especially when it comes to the human form. I found this really good to work with as I was only using a red, peach and white oil pastel, it made me mix colours and learn how they work together. I found that using a really soft pencil (8B) to sketch out the shape was and wasn’t good for a couple of reasons. On the one hand, the pencil blended into the darkness of the red and the shadows, making them even darker, however this also took away the natural and realistic feel to the drawing as it was all ‘outlined’. 

I really enjoyed doing this illustration (above) as the way the colours blend together is exactly how I wanted them too and I think the relaxed and confident line and strokes make the piece look good. 


(Above and below) I am not so keen on these illustrations because of the lack of colour and the use of colour sparsely. I prefer the way in which the first illustration looks more like the feeling of skin as opposed to this which looks bare.

(Above) I really like the way the curves and the light within this looks, especially due to the lightness and youthfulness of colour within this illustration. 

(Above) I decided to do a larger illustration from one of the photos with the pomegranate from my ‘GIRLS’ photoshoot. I am really happy with the way it turned out. I am not so happy with the way the light and shadow is distributed within this piece. I do think that because it was an A3 illustration, I found it harder to work with. 

(Above) I tried to do another illustration using brush pens and fine liner to practise the shape of the body I was drawing. I like the way it turned out with the highlights, however the shadows are not perfect.  

(Above) I really like the way this illustration turned out because of the way there is not an outline around it. I also think the colour distribution and portrayal of shadows and highlights works well here. 


I feel as though even though I carried out these illustrations consecutively, I improved vastly within each drawing and it was really good as I took time between each one to distinguish which aspects of the illustrations I liked and disliked.



All work by Kynza Kendall-Jones




I have started off with painting some of my pages for my illustrations and even by doing a couple of illustrations and paintings, I have already learnt so much from doing them.

First of all, as I started to do my first drawings and outlines, I realised that I would need to be careful that I had enough space outside the A5 page to bind it together so to not lose any of the painting in the binding. Furthermore, This would mean that I would have to make sure that my drawings were on the right of a landscape A4 page. However, this would only work for pages that would be in the right of a double page spread and because I haven’t necessarily chosen which page is going where for some of my illustrations in my zine, this means that I have to choose before I paint. Unfortunately, I only realised this after having done a couple of paintings. Therefore, I have decided to do my next painting in the centre of the A4 pages so to have enough space on both sides for the binding.

Something else that I have learnt from these drawings is that painting in Gouache has not worked well with the pen on the chalky paint. Therefore two of my brad new pens stopped working from working on the Gouache. 

Other than all of these issues and lessons that I have learnt, I am really happy with the way the paintings turned out and I know that I would like to put them in my zine. 



I have also furthered my illustrations with knitting and mixed media and I changed my technique from my test experiments and I played around with colour combinations and the way in which I created the ruffles around the edge. I found it really fun making these illustrations as knitting is a form of repetition  and this is something that stills the mind and it allows the preconceived and subconscious thoughts to come forward. 

Something I learnt from creating these is that it takes a very long time to create them, and creating two sets for the two physical copies made everything a lot harder. 


All work by Kynza Kendall-Jones






Yesterday, I made a few mini zine/books out of one sheet of paper. This is a really easy way of making zines, and making a template to print it on inDesign is super easy too. Furthermore, I think the feel of mini zines seem more personal and ‘cute’! 

I am struggling with what technique I should use to make my zine as I want it to feel very hand rendered and one of a kind. However, although I love this technique of making a zine, I do like to work slightly bigger with my work. I think I need to experiment with making things smaller and then I will be able to make an informed decision with how I would like my zine to be. 

Please see my sketchbook on the page with the title : ‘Mini Zines’ to see the little zines I made.





So yesterday, I went in for an optional darkroom session. Unfortunately, I was not aware of what I was going to be doing in this session, so i did not have any of my own negatives. However, because I was the only one there, it was really valuable time. I borrowed some spare negatives, and I developed it a few times, burning it in and making it have the perfect exposure.

(Figure 1)

(Figure 2)


Once I knew the perfect exposure, we moved on to using the wet method of printing in the dark room. I used different methods of putting the developer on  my photograph and when I was happy with the way it had become exposed, I put it in the stop, the fix and the wash. 

I used a sponge and also a brush, using different dripping and smearing techniques to get a lovely airy effect from my image, which I felt went perfectly with my theme. 

I will be picking up my dried images on Monday, and I am very excited to see exactly how they turned out.


I got out some more spare negatives that all had women, and I had the idea of doing a few more prints, using this method and then hopefully they will turn out beautifully to hopefully include in my zine. 

(Figure 3)


I think working like this in the darkroom is so important, because everything that is possible on Photoshop, started in the darkroom. Furthermore, it was so valuable to have one on one time with a lecturer to really learn about all the methods and techniques of printing in the darkroom. 


(Figure 4) 

(Figure 5) 

(Figure 6)

(Figure 7)


I picked up my wet developed images and I am really happy with the way they turned out. The hand rendered feel to them really ties in well with my zine.



Figure 1 & 2 – Photographer unknown, printed in the darkroom by Kynza Kendall-Jones

Figure 3 – Photographers unknown, found negatives.

Figures 4-7 – Photographer unknown, printed in the darkroom by Kynza Kendall-Jones




After having looked at Laura Callaghan and Nhung Le’s work, I feel as though I have really established a style and a few pieces that will be suitable for my zine. 

However, I stumbled upon another illustrator called Carly Jean Andrews. Although I have not been able to find much information on her, I can see that she seems to work in a range of different media to create her pieces of work.

Image of Strawberry

(Figure 1)


Although her work here (Figures 1 & 2) seems almost digital, I do really like the subject and the feeling she puts into these illustrations, I would like to try to create some images like these.

Image of sk8

(Figure 2)



Here are some other illustrations that I really like from her Instagram:

(Figure 3)


Another illustrator that I have really loved is Sarah McCloskey who is based in Perth, Australia.  She works ‘mostly in graphite and ink to create engaging, unique pieces that blur the lines between the real and the imagined.'[1]

(Figure 4)

This (Figure 4) is one of the illustrations that I like the most from her work that I feel is most relevant for my project. I really love the colours and the way in which the reality and two-dimensionality is so contrasting but works so well together. 




[1] McCloskey, Sarah, 2017,


Figure 1 – Strawberry, Carly Jean Andrews,

Figure 2 – Sk8, Carly Jean Andrews,

Figure 3 – Screenshot from Carly Jean Andrews’ Instagram, @carlyjeanandrews

Figure 4 – A Sarah McCloskey Illustration from her Instagram, @sarsar