This paper addresses the call’s theme of ‘visual and material culture of Covid-19’ through an exploration of quarantine fanzines, or ‘quaranzines’, produced in response to the worldwide pandemic (2020-2021). During lockdown, quaranzines became an accessible way for self-documenting and sharing personal journeys, resulting in what Weida has termed ‘artifacts of lived experience’. (Weida 2020:268) The paper will concentrate on their visual and design qualities. Selected case studies are highlighted to show how such zines reveal insights into a producer’s homelife (e.g., their domestic circumstances) and how they deal mentally with the strain of lockdown (e.g., their chosen walks around the neighbourhood, and how they depict these). By examining the zines’ lexical items (e.g., graphical structures, line drawings, photographs) and symbology (e.g., depictions of the Covid virus, social distancing, facemasks) a quaranzine pilot taxonomy is identified. In this way, the paper argues for the contribution of the visual to strategies of resilience, resistance, and hope, but via the lens of ‘mundanity’. For example, one zine features images of discarded pizza boxes on empty streets, while another, details how long it has been since the producer pushed a crosswalk button. The case studies include both digital and print modes of dissemination, and raise issues about different kinds of communication and community-building that transcended geographical boundaries. As a secondary theme, the paper will make comment on how these zines became part of an ‘archival event’, being collected by libraries and other organisations as soon as they were made. The paper draws on previous work by comic studies scholars involved in the Graphic Medicine movement (e.g., Williams 2012), which focuses on the comics and graphic memoirs of those living with issues around health, disability, and mental wellbeing ‘as a unique form of knowledge production’. (La Cour & Poletti 2022: 6-7)