From Screen to Zine: Meet the Makers Using Figma for Digital DIY | Figma Blog (opens in new tab)

Figma is helping a new generation of creators revive zine culture by combining digital speed with the handmade spirit of print. The article highlights designers, musicians, and community organizers using Figma to document underground scenes, produce physical artifacts, and collaborate remotely. Its flexibility, plugins, and collaborative canvas make it especially useful for highly iterative, visually experimental work.

Figma and the revival of zines

• Zines have historically given fringe communities and subcultures a way to publish outside mainstream media.
• The article profiles several creators using Figma for digital DIY projects:
  • Dance Data’s 97-page Underground Fanzine, created by Jesse Pimenta and Cheyce Batchelor.
  • Figma’s AAPI employee resource group, which created AZINE.
  • Dominique Saiegh, who designs cassette and CD packaging.
  • Sebastián Ortega, who creates assets for online radio station SutroFM.
  • Tara Ridgedell and Gonzalo Guerrero, who run remote risograph workshops through Secret Riso Club.
• These projects use digital tools to build real-world connections and preserve ephemeral music and cultural communities.

The history and spirit of zine culture

• Modern zines began as science-fiction fan magazines in the 1930s and 1940s.
• Their history continued through:
  • Beat-generation small presses in the 1950s and 1960s.
  • Punk music zines and copy-shop publishing in the 1970s and 1980s.
  • Riot Grrrl and broader zine culture in the 1990s.
  • E-zines, blogs, and websites in the 2000s.
  • A renewed interest in printed zines, festivals, and libraries from the 2010s onward.
• Dance Data’s publication deliberately recreates the scrappy, Xerox-inspired aesthetic associated with punk-era zines.
• Printing the zine gives readers a lasting physical record of an underground music scene whose parties and collectives are often temporary.

Designing a 1990s-inspired publication in Figma

• Pimenta and Batchelor produced the zine in approximately three months.
• Figma’s canvas provided a broad overview of the publication, while Auto Layout helped organize and reorder content efficiently.
• Figma’s speed supported an iterative process in which every interview spread could have a distinct visual identity.
• Pimenta drew inspiration from rave flyers, computer newsletters, technology magazines, and Archive.org’s The Magazine Rack.
• The desired aesthetic combined hacker culture, cyberpunk imagery, retro computer graphics, and old-school clip art.

Plugins for a photocopied, experimental look

• Noise & Texture added gritty, speckled effects resembling 1990s photocopies.
• Photopea enabled image manipulation, including noise and threshold filters.
• Skew Skew distorted typography into irregular shapes that suggested warped Xerox reproductions.
• These tools, combined with retro rave references, helped the digital design resemble handmade print work.

Preparing digital work for print

• Pimenta had to export individual pages at four times their intended size, convert them into print-ready PDFs, and then resize the final document.
• Exporting was slow because the publication contained thousands of small assets.
• The project illustrates both Figma’s usefulness for complex editorial design and the practical challenges of converting a large digital file into a physical zine.