CALLING ALL SEEKERS Are you looking for love? Do you have a service to offer? An enemy you need to hex? Maybe you just want a third party to confirm your existence. Put your voice out into the universe and see what comes your way. Submit your secrets, wishes, observations, or classifieds HERE and we’ll print them in the next issue of Lemonade. GET ON THE LISTSubscriptions to Lemonade are now available! Enter your address HERE to receive a copy delivered to you every month.CONTACT: HI@LEMONADEPRESS.COM
IN THIS ISSUE The Suits want things to stay exactly as they are. Gatekeepers gonna gatekeep. Naturally the most interesting work happens when people bypass them entirely. Ground-up design is the radical act of making something work when you're not supposed to, when you don't have permission, when all you've got is duct tape and spite. It's trash culture as infrastructure. It's the hand-painted lettering on a liquor store window. It's zines photocopied after hours. It's bootlegs crafted without concern for copyright. And we are here for it. Lemonade is a magazine that celebrates the glorious practice of making without asking.
Riso-printed and hand-bound in San Francisco
Featuring an invertiew with Ruben Pater
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Red, Orchid, Flo Pink
Typefaces: Inter, Serial C
$12
ISSUE 0002
WHY CAN’T
I
TOUCH IT?
IN THIS ISSUEThe internet of today is a highly commercialized web of multinational corporations, proprietary applications, read-only devices, and algorithms. Silicon Valley has spent decades steering the web towards convenient, frictionless experiences in search of the quickest, cheapest way to get your data or your dollar. It wasn’t always that way. The early internet was bright, rich, personal, slow and under construction. The web of amateurs and personal pages was washed away by big tech and universal UX best practices.
Riso-printed and hand-bound in San Francisco
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Cyan, Med Blue, Green
Typefaces: Inter, Serial C
$12
ISSUE 0003
ROE-ZEE’S
IN THIS ISSUEThe San Fernando Valley—known for sprawl, smog, and porn—was shaped by waves of immigration, post-war growth, and a mix of urban and suburban life that has given rise to a unique typographic identity. From handwritten signs advertising corner shops to murals that echo the area’s Chicano roots, the typography in these spaces captures the spirit of self-expression and survival. These hand-crafted letters are more than just words—they are a testament to the Valley’s diverse identities, offering a visual language that mass-produced signage could never replicate. In a place often overshadowed by its glitzy neighbors, this grassroots typography remains a proud symbol of local history, community, and creativity.
Riso-printed and hand-bound in San Francisco
Featuring an invertiew with James Edmondson
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Red, Orange, Black
Typefaces: Inter, Serial C, RoeZee, Lyno
$12
ISSUE 0004
GUTENBERG
NEVER DID THIS
IN THIS ISSUE
Zines, short for “fanzines,” are self-published pamphlets often published out of political necessity by dissidents, counter-cultures, under-represented, and marginalized groups. They’ve existed in leaflet and pamphlet form for as long as such technology has been available. The Dada movement used the little magazine format to fight the enemy as they saw it: the nationalistic and bourgeois culture in Europe. Some of the first were the Little Magazines of the Harlem Renaissance and sci-fi fanfic from the 20s and 30s. Through the 60s and 70s, as Xerox machines became more widely available and as we understand them today began to appear. They can be the glue that holds a movement together by giving a voice and visibility to ideas outside of mainstream culture.
Riso-printed and hand-bound in San Francisco
Featuring an invertiew with David Senior + V. Vale
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Orange, Med Blue, Flo Pink
Typefaces: Inter, Serial C
$12
ISSUE 0005
RIP OFF
IN THIS ISSUECulture and knowledge are public assets. Education, scientific research, collective historical endeavors, and publicly managed archives constitute our intellectual commons. This abstract realm fosters collective creation, improvement through discourse and innovation. Copyright law privatizes collective knowledge, limiting access for profit, reducing culture and knowledge to tradable commodities. Practices like bootlegging, remixing, and appropriation challenge these norms by subverting intellectual property laws, critiquing consumerism, and empowering individuals.
Riso-printed and hand-bound in San Francisco
Featuring an interview with Ben Schwartz
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Red, Cornflower, Med Blue, Flo Pink
Typefaces: Inter, Serial C
$12
ISSUE 0006
FREEWHEELER
IN THIS ISSUEAt the end of the dusty trail, you’ll find a relatively unknown corner of the San Fernando Valley, Sunland-Tujunga. Part working-class and part bohemian, it exists in a strange mix of weathered stucco, gilded McMansions, and cowboys. The last stop on the escape from LA, where forgotten corners not yet gentrified feel both on the edge and outside of it. Instead of essays, this issue is purely visual exploration, focusing on the overuse of the typeface Hobo and the eclectic mix of businesses it represents. From taco trucks to DUI lawyers to Scientology centers, each page is a meditation on a place that thrives on its unpolished, UFO-sighting energy.
Riso-printed and hand-bound in San Francisco
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Orange, Cornflower, Green, Med Blue, Flo Pink
Typefaces: Inter, Serial C
$12
ISSUE 0007
FREAK OUT!
IN THIS ISSUEYour ultimate guide to becoming a real-life, unapologetic freak. Embrace your weirdness and thrive in it with a little help from history’s freakiest freaks. We’re talking about living on the fringes, carving out space in a world that doesn’t give a damn about you, and doing it with style. If you’ve ever felt like the world’s been trying to make you normal—this is your blueprint for rejecting that. Just follow the steps, take notes, and remember: the only thing more exhausting than being a freak is pretending to be anything else.
Riso-printed and hand-bound in San Francisco
Featuring an interview with the Church of the Subgenius
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Red, Black,Flo Pink
Typefaces: Univers, Serial C
$12
ISSUE 0008
NOTAFLOF
IN THIS ISSUEHouses as throwaway objects like beer bottles, now that's a provocation! For decades, progressive designers have explored waste as a building material. Some went as far to imagine houses made entirely of garbage that you could disassemble, rebuild, and adapt at will. Sounds radical but it did actually move to mass production. In the '70s, Heineken designed the WOBO, a beer bottle shaped like a brick that could be stacked to build walls. Drink your beer, build your house. The whole concept challenged sacred homeownership by making construction materials free and widely available. Fifty years later, we're drowning in waste and facing housing crises simultaneously. Garbage housing proposes solving both at once. Riso-printed and hand-bound in San Francisco
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Red, Cornflower, Med Blue, Flo Pink
Typefaces: Inter, Serial C
$12
ISSUE 0009
PEOPLE POWER
IN THIS ISSUEWhat if everyone made their own power? Low Tech Magazine runs on one solar panel and goes dark when it's cloudy. Sounds insane but maybe that's more honest than pretending the internet is free and energy is infinite. Bike generators, intermittent solar, living within tight limits on what you actually need versus American excess™. We explore the fantasy of decentralized energy free from utility companies. Probably impossible, definitely interesting. What would it take to live like that? Riso-printed and hand-bound in San Francisco Featuring an interview with Kris DeDecker
Edition of 100, 36 pages, 4 x 10”
Riso Colors: Orange, Cornflower, Lime
Typefaces: Inter, Serial C
$12
ISSUE 0010
I ♥︎ TOOLS
IN THIS ISSUEThe first copy of Photoshop came in a chunky cardboard box. Designers paid once and it was theirs forever. We've regressed from owners to perpetual renters of our own means of production. Everything's a subscription: movies, music, transportation, clothing, culture, all of it metered and monitored monthly. You own nothing (unless you're one of those "weirdos" hoarding milk crates full of analog media and, if so, we salute you). Some faceless corporate creep charging us rent just to use tools is NOT CHILL and decidedly disrespectful to the craft. Tools shape the work, ownership shapes agency, and we're digging into the whole mess. Riso-printed and hand-bound in San Francisco
Featuring an interview with Briar Levit