typ(ositive infl uence)

<

10

Team UnBrett CainYin LamCampbelDuncan B

leadednes

ll DandyBrotherton

1. What happened

2. Team Unleaded University

3. 6 wonderful Unleaded fonts

4. Perseverance

5. Changes and alterations to the rescued document

1. What happened

Back in 2002-3 the idea for

the next issue of typ( )

was formulated. The

idea had been discussed

with a few other team

members and feedback

was received. People were

into and not into it at the

same time. The name

was chosen in an honest

attempt to bring a little

positive enthusiasm back

into the group.

The invitation above was

sent out electronically.

The general idea of the

issue was to get members

to make small designs

which would then be

magnifi ed before printing.

This was very fi tting with

the positive theme.

>>

one set of work was

received early on. Only

three of the four pieces

titled “A true story” were

transferred sucessfully.

>

INVALID ADDRESS

Typ(ositive) - a magazine

about good design.

We want to educate the

people.

About what?

About design of course.

Ok that’s fair enough,

but that’s a big area.

Which part?

Team Unleaded.

Why?

So they understand,

of course.

Understand what?

Why we love design

[INSERT]

[inside page;]

The idea of content had

been brought up time

and time again, so

I spent a while typing

out thoughts on the

computer in a kind of self

interview style way.

Interviewer appears in

bold

[Non-format text appears

italicized and in square

brackets]

DOWN

AND READ

THIS MAGAZINE SLOWLY.

[Following pages]

Ok you are the reader,

you can do as you wish

with this magazine, and

there is nothing that

the designer can do to

stop you. But, we would

like you to keep reading

slowly…

[NEEDS MORE WORK]

So this is a new version

of the magazine. The

previous magazines kind

of looked something like

this…

[INSERT]

But were gonna change

that.

We want you to read

this magazine so you

can understand why

we love design. Lots of

other designers don’t

actually love design, but

they design anyway.

They make crap design

and everyone sees it. It

changes the way that

everyone sees design and

TYP(OSITIVE)

ABOUT GOOD DESIGN

GOTCHA!

RIGHT

PLEASE

SLOW

this is not good!

Excuse me! I don’t

understand.

Well, OK… Someone

wanted us to put an

article in the magazine

about home decor… well

that’s not too hard…

[INSERT]

You don’t like home

decor?

No, we don’t like bad

design.

[NOTE and thought: Does

bad design stop the reader

from reading? No it makes

the process harder. It makes

it so hard that people

eventually stop reading.

They stop seeing. maybe

books / magazines will

need instructions sometime

in the future; e.g. 1. Turn

page 2. Read slowly 3.

Repeat steps 1 and 2.]

How much bad design is

there then?

Lots of it.

[INSERT]

But you showed us your

designs before and they

were kind of weird…

Yeah, we were young

and angry at all the bad

design… so we made

really bad design in order

to rebel and be naughty.

[Note: Excess is not

rebellion and we are

beginning to realise that;

all of us]

Even we did’t understand

our own designs.

Why did you make so

many issues then?

It was a very creative

exercise. We learnt lots of

things.

So why are you

changing now?

Well, that’s kind of a long

story, but to cut it short…

Duncan: Hey, Yin! Its time

for the next mag man.

Yin: Duncan I’m getting

tired of the magazine.

Duncan: Why man? It’s so

cool!

Yin: Duncan, the

magazine makes me tired

because every issue we

don’t reach anyone. We

make more and more

magazines and I feel I

don’t have the energy for

it anymore.

Duncan: What do you

mean we don’t reach

anyone?

Yin: I can’t even show

>

my girlfriend! It’s almost

embarrassing.

Duncan: ...

We have always been

open to changes on the

magazine.

What does everyone

think about the

changes?

Everyone probably agrees

that it’s time for a change.

How are the changes

going?

The magazine is fi nished

isn’t it? And hopefully the

reader is still reading.

Why “hopefully”?

Readers have become

really hard to get to.

How so?

There is so much design

out there the people stop

looking at it.

But if it’s everywhere,

how do they stop

looking at it?

It’s a strange thing.

Designers call it ‘jamming’.

The viewers jam out the

visual signals that the

designs are giving. They

jam out the good and the

bad design.

[Note: If the viewer is not

interested, is the design

bad? Why should they read

it if they are not interested

(even if the design is

miraculous)? Do viewers

jam out good design?

Should they? Does good

design include place, time

and context? {Note note:

Yes, it includes it all.}]

All this talk about good

and bad design! How do

we see the diff erence?

Now we are getting

somewhere. For a start,

there is a big visual

problem. There is so much

design that it is getting

hard to just see where

you need to go through

the confusion. Remember

those are your eyes in

your head, and what you

see is your visual space.

Now, if someone puts an

advertisement in your

visual space…

[INSERT]

Don’t you think they

should pay you for it? Did

you get paid?

There is also stuff that’s

not tidy. There is design

that’s hard to read. There

is design with too much

in it. There is design that’s

too fl ashy looking. All

these designs are done

by people who don’t love

design.

Why don’t they love

design?

Maybe they have a bad

boss. Maybe they don’t

have enough time. Maybe

they are afraid of not

getting money at the

end of the week. Maybe

they just don’t know. Your

guess is as good as mine.

But that’s not all.

There’s other types of

bad design?

Sure, there is also a lot of

stuff you don’t see. Most

graphic design is printed

stuff . That means that

there is paper involved

somewhere. In the end

it all winds up in the

garbage. There is a large

pollution problem in the

world at the moment, and

bad designs don’t make it

any better, but that’s still

not all.

[Note: DESIGNS don’t make

it any better, good or bad]

What? What other bad

designs could there be?

Designs that lie.

There are no designs

that lie.

No, not literally. But, there

are plenty of designs that

lie visually.

[INSERT]

Did you see how the

magazine made you feel?

It’s almost like “If you

read this magazine, it will

make you beautiful. It will

make you fashionable.

You will know how to get

a boyfriend / girlfriend

instantly.” Now that’s a lie.

There are many types of

lies and this kind is the

worst.

Why is it the worst?

Because these designs get

inside your head, and they

start changing the way

you think.

[INSERT]

Did it make you feel

good? Special? Do you

want a partner like that?

Kind of…

[Note: Too much

assumption]

Well if you get enough

of that, then it will

change the way you think

completely.

Alright, alright, so that’s

all the bad design. How

do I know what the good

design is all about?

A lot of people look at

design diff erently. They

have their own idea of

what good and what bad

design is.

So good design is what

I like?

No, that’s personal

opinion. Good design is

the stuff that works. If you

stop and look at a design,

the fi rst thing you look for

is the message.

[INSERT]

Did the message work?

Did it get to you?

[Serious note: I think I’m

getting a little confused

here… I’m crossing paths

a little with design and

consumerism. For example,

good design is stuff that

works. Right, so if I see a

Coke ad and it makes me

thirst for Coke, does that

make it good design? But

I said previously that if

the message is bad, then

it’s bad design. And the

message is bad, because

I don’t want the thirst for

Coke in my head. I have the

choice, yes. I don’t like the

brainwashing though.]

[Another serious note: How

is the message related to

the design? The message

should not be one that

makes you desire (with

a lie), but one that gives

you a neutral view of the

product or service…]

[Note: I’m getting quite

seriously into advertising

here. Maybe I should

focus on advertising…

Maybe I should go back

to general design. Maybe

I should be talking about

just magazines. I could

switch the whole focus to

magazines and talk about

them in relation to good

and bad design.]

Check to see if the design

is lying. Did it make

you feel fat, ugly, old or

bad? Then you can look

behind the message at

all the other stuff . Is it

easy to read? Is it clean,

or is there too much in

your face at one time?

Are you absorbing all the

messages it is giving you,

or are you just skimming

the pages quickly for

something interesting?

[Note: I’m onto something

here that is way too fucking

big for this magazine.

What the fuck? Both

reading all the messages

and skimming over the

magazine are things we

do, not necessarily good or

bad. Finding the message

I want quickly would be

good design, but when I’m

browsing a magazine I’m

not looking for anything

in particular. Maybe it’s

irrelevant.]

There is a whole range of

things you can look at;

you really don’t need me

to instruct you on how

to do it. Team unleaded

has been doing it’s best

to make good designs

for everyone. We try to

get that good balance of

things that make people

think. The last thing you

want is design to make

you dumber. Design

should be better in

general.

[Note: Good design makes

you think? Maybe there are

diff erent areas of design…

good design, eff ective

design, bad design,

uneff ective design…]

So that’s it?

Nope. The rest is up to

you. We have planted

a seed in the readers

mind, and they should

really look at everything

diff erently.

[Note: Have we showed

them why we love design?

Is that what I want to

do?… No, I actually wanted

to educate them about

design, to make them

understand why we love

design.]

[Note: Maybe I should

have a how to view design

section in here?]

[Note: This is fucked. I can’t

take this further without

turning the whole thing

into a dictionary or an

encyclopedia of sorts.]

As you can see, I suff ered

from not having other

team members present.

Thankfully Mr. Caines sent

me an email, and brought

up a viewpoint that I was

severely in need of.

i read through the stuff you proposed for the magazine

text, and i am not at all sold on that, i like the approach,

the idea of using the images of the magazine to

reinforce the text, but i am not sure that we should be

trying to defi ne what is good and what is bad design.

for several reason i feel that we shouldnt do this, fi rstly,

because we are presenting ourselves as some kind of

authoritive voice of knowledge reason and guidance

for the rest of the world to listen to and ignore at htier

own peril, which is simply poor form and bad strategm,

setting ourselves up for a fall of the largest possible

magnitiute. secondly, it is reeally not at all possible ot

defi ne what is good and what is bad design, one could

argue it is good design if it reinforces the message,

the demographic, the product, as such mr. bankrupt

adverts on the televsion are well deisgned they do

all of these things, and even more so they stick in the

f\viewers fucking head, for a many long long hour

afterwards! but anyone who looks at is bound to say,

its badly designed, ok, good point, bnadly designed,

well marketted, whare is hte borderline, where is the

boundary of design and marketting and advertising,

surely htey are interrelated, interconnected, one

surely can not exist without the other, pure design

without artifi ce without intent of infl uence, with the

underlying schedule of sales, promotion, advertising,

infl uence and/ or corruption is a rare thing and truly

has no or little place in todays western consumerist

capitalist society. if anything that is what we did with

the magazine, we presented a magazine which tried to

neither infl uence anyone or sell anything, it promoted

nothing(initially), it contained no advertisements (one

othe fi rst rules of typ(...) was there shall never ever

be any adveritsements), wasnt marketted to any in

partcular demograpohic or economic/socio-polital

agenda (we had an intended core group, but we did

the things that we wanted to do \rather than the things

that we thought they would like) and through the

magazine we did not try to corrupt peoples view or

opinions, we respected their opinions and if they liked

what we were doing, if we were in syncopated rhythm

(fuck i cant spell that word!!!) with their views and they

dug what we was doing then boy we got a fan and

chances are they got to put some shit in the mag when

we got around to asking them to do such a thing. slowly

Unabridged, unedited Caines

IRRELEVANT

But I fi nally got a better

idea.

Ooooo! Wonder what it is?

though we lost this innocence, became consumed

withour own importance and began thinking about the

way a traditional magazine works, sell and infl uence,

market and corrupt, advertisements and demographic

trends. i admire what you are trying to do, but i am

thinking that maybe it is a step too far removed from

what typ(...) was all about in the begining. yin shouldnt

be embarrased about the early typ(..)’s, if yin is then

that is a problem that yin has, i would be embarraased

to show people a magazine which was like every other

advert, i mean, magazine on the shelf, fi lled with half

craply written articles about shit that is entirely useless

to anyone bar the fi lling up of these pages upon which

they are printed, i would much rather show people

purity, without defi nition, without intention, without

relief. now having said that, i am not saying that what

we produced in typ(...) was the best solution, i think that

if anyone was pushing our boundaries towardsa better

face of typ(...) it was yin, yin consistantly produced

outstanding pages, and everybody admired his work,

his pages were cleaner, stronger and consistently fresh,

while everyone else tended to repeat themselves on the

photocopier, messing shit up with multiple photocopies

and ultimately looking like every other second page in

every other magazine, you dig? and the reasons for this

was? we were reacting rebeling against things, we were

exploring what we could and couldnt do and most of us

were quite enamoured with the photocopoier, yin was

one of the fi rst to take it beyond that, jin did it, and gen

took it beyond the photocopier whilst still remaining

inside the photocopier - while everyone was looking

outside the square, she looked inside it (sort of ), and yin

looked at a freaking rhombus!!

IRRELEVANT

2. Team Unleaded University

This is Team Unleaded University’s fi rst report.

The University strives to bring knowledge and

understanding that cannot be found in other design

magazines to all members and readers.

This issues report: The eye

The main light source for

our world is the sun. All

objects around us refl ect

light to a certain degree.

In order to understand

these objects, our body

uses our eyes to interpret

these light sources and

transmit messages to our

brains for processing.

The eyes are very delicate

instruments. Over a

large span of time, we

have evolved a number

of protective features

to house and protect

them. The eye sits in

a cavity in our skulls

called the orbital cavity.

It is embedded in fat,

which provides some

cushioning.

Our eyelids off er a

covering protection from

contact with foreign

objects, and also act as

a means of moisturising

when we blink. Our

eyebrows and eyelashes

protect the eye from

contact with small

particles.

In cases of contact with

foreign material, lacrimal

glands, located either

side of the eye secret a

salty substance and fl ush

the surrouding area. The

liquid drains either side.

The sclera is the

outermost layer of the

eye. It helps to maintain

the circular shape. All

extraocular muscles (that

provide movement) are

attached to the sclera. It is

visible as the white part of

the eye.

The extraocular muscles

are 100 times stronger

than they need to be.

They are also the most

active muscles in the

body.

The cornea is the foremost

part of the sclera. It is

made of a very tough

material that provides

protection against severe

damage from sharp

objects and germs. The

fi rst layer of the cornea

is comprised of cells that

are rapidly replaced (24-

28hrs.), allowing for quick

healing.

The aqueous humor is the

small body of fl uid behind

the cornea. It is produced

by the ciliary body and

provides nourishment to

the surrounding cells.

The vitreous humor is the

fl uid that fi lls the greater

part of the eye behind

the crystalline lens. It also

helps the eye to maintain

a spherical shape.

The choroid is the layer

between the outer sclera

and the inner retina layers.

It is fi lled with blood cells

which provide the largest

source of nourishment

to the eye. The choroid

is connected to all inner

muscular parts of the eye.

The iris is the coloured

part of the eye,

surrounding the pupil. It

expands and contracts.

The iris has two muscles;

the dilator muscle makes

the pupil larger, while

the sphincter muscle

makes the pupil smaller.

There is often confusion

between the iris and

the retina, even though

their functions are very

diff erent.

The pupil is not a physical

part of the eye. It is the

space where light enters

the eye, and only appears

as a black spot.

The ciliary body is the

muscular area of the

choroid that is attached

to the crystalline lens. It

is connected to the Lens

by a collection of cords

called zonules. Glands

in the ciliary body secret

aqueous humor.

The crystalline lens is the

convex lens between

the aqueous humor and

the vitreous humor. The

ciliary body contracts

and relaxes to change the

shape of the lens.

The retina is the thin

transparent membrane

surrounding the inside of

the eye. The light that falls

on the retina is changed

into electrical impulses

and sent to the brain for

processing.

The retina is made up

of cells called rods and

cones. The rods allow our

vision to work in low light

levels, whereas the cones

provide our sharpest

vision and colour detail.

The outer segments of

rods and cones contain

photosensitive chemicals.

In rods, the chemical is

called rhodopsin; in cones

they are colour pigment.

Rhodopsin decomposes

when exposed to

light and becomes

unstable. In less than

a second the unstable

rhodopsin breaks

down and reformes

into metarhodopsin II

(activated rhodopsin). This

chemical causes impulses

that are transmitted to

the brain. There are three

colour pigments found in

cones; red, green and blue

sensitive pigment. Each

cone contains a colour

pigment. Similar to the

rhodopsin, the pigment

reacts to the diff erent

coloured lights, and sends

electrical impulses to the

brain. The human eye

can see any gradation of

colour when red, green

and blue are mixed. There

are 130,000,000 rods

in the retina, but only

6,000,000 cones.

Staring directly at a

strong light source causes

a bleaching of colour

pigment to occur in the

cones. Upon looking

away, the image of the

light source remains

burnt upon the vision for

a few seconds, untill the

chemical balance in the

cones returns to normal.

The macula is the focusing

spot in the retina. At

the very centre of the

macula (or the pinpoint

centre of your vision) is

the foeva centralis. The

foeva centralis is tiny

area made up of 25,000

rods and 110,000 cones.

This high concentration

of cones allows for sharp

perception of detail and

colour.

All light travels in a

straight direction. When

it encounters a surface

of a diff erent transparent

medium it refracts, and

it’s direction changes

slightly. The degree of

refraction depends on the

angle, the colour of the

light and the density of

the transparent medium.

Entering a convex sufrace,

parallel rays of light will

refract and bend towards

each other.

The cornea’s convex shape

provides two thirds of the

focus of the light.

The iris muscle expands

if the light level is high,

allowing less light to enter

the eye, and contracts

when light levels are low,

allowing more light into

the eye. This action can be

seen clearly as a change

of size in the pupil. The

diameter of a pupil

can change between

2mm-8mm. When fully

contracted, the iris allows

30 times more light into

the eye than when fully

expanded.

When light passes

through the convex

shapes of the cornea

and crystalline lens, the

image inverts and is

displayed upside down

on our retina. When we

see things upside down

(which appear the right

way up on our retina),

our brain is not able to

handle 100% of all the

information.

The ciliary body

contracts and expands

to change the shape of

the crystalline Lens. The

lens is the part of the

eye that allows near and

far objects to fall on the

retina in focus.

The photosensitive

chemicals coating the

rods and cones react,

creating electrical

impulses which are sent

to the brain.

Function

All electrical signals pass

from the rods and cones

into the retinal ganglion

cells. The axons (or

nerve fi bers) from retinal

ganglion cells collect in

a bundle and leave the

eye to form the optic

nerve. All the connections

leave the back of the eye

through an area know as

the optic disc. There are

no rods and cones in this

area. Due to this, each eye

has a blind spot.

1. Hold the two marks from about arms length away.

2. Completely cover your left eye.

3. With your right eye, start directly at the •. You will still

notice the + in your peripheral vision.

4. Slowly bring the marks closer towards you, continuing

to look at the •.

5. The + will dissappear from your view.

6. Continue to bring the marks closer, and the + will

appear again.

This dissappearance is the result of the image of the +

falling on your optic disc. The same eff ect is achieveable

by viewing a full moon. You will be able to see a halo

around the moon (because it is still emitting light

that the rods are recieving), but the moon itself will

dissapear. Normally your blind spots are unnoticable, as

one eye compensates for the other.

Interpretation Blind Spot Test

There are approximately

1.2 million nerve cells

in each optic nerve. It

resembles brain tissuse

more than nerve tissue.

The optic nerve continues

to the optic chiasm. Here

the nerve fi bres from the

nasal side of each eye

cross over to the other

side, but the fi bres from

the temporal fi eld (or the

temple side of the head)

do not. Because of all

this, a given hemisphere

gets information from the

opposite half of the visual

world. This crossing over

allows for binocular

vision (or two sets of

information) to be

processed without any

duplication of the visual

cortex.

From here the fi bres

become the optical tract

passing through the

thalamus. The signals

passing through turn into

optic radiation which

reaches the visual cortex

in the occipital lobe at the

back of the brain.

The visual cortex is

responsible for the

process of all information

recieved.

A variety of types of

signals eventually

reach the brain for

interpretation.

Rods supply light intensity

signals. The brain reacts

by contracting the iris in

low light, expanding it in

strong light and shutting

the eyelid in sudden

bright light situations.

The cones provide

red, green and blue

information for colour

perception.

The foeva centralis allows

us to focus in great detail.

To discern qualities such

as size and distance, the

brain recalls information

from past experiences.

For example, it could

determine the distance of

an object according to the

remembered size of it.

Moving parallax, or the

movement of objects

across the vision, is

another method to

determine distance.

Objects closer to the

retina move faster across

the vision than objects in

the distance.

The brain also makes

use of our stereo

vision to determine

size and distance. Each

eye recieves diff erent

information from an

object, especially when

the object is close to the

face.

The brain is the essential

part of the interpretation

process. Not only does it

process high amounts of

information, but it does it

in real time.

The Human eye has a

fl icker fusion rate of 60

fl icks per second in bright

light and 24 fl icks per

second in low light. This

is the minimum rate an

image can fl icker without

being noticed. Flys have

a fl icker fusion rate of 300

fl icks per second.

The strength of your

vision can be understood

in two ways; visual acuity

and visual fi eld.

Visual acuity is the

measurement of your

eyes’ ability to distinguish

shape and detail. The

human eye can see detail

up to 30 lines per degree

of vision. A simple way

to measure visual acuity

is to test the eye against

a snellen chart, which

was invented in 1862 by

a Dutch ophthalmologist

named Herman Snellen.

Technically speaking,

normal vision is 20/20

(measured in feet). The

right number indicates

what a normal eye can see

at 20 feet. The left number

shows the distance the

subject in question needs

to see the same thing.

If your vision is 20/200,

then standing at 20 feet

(or 6 meters) you can see

what a normal person at

200 feet (or 60 meters)

can see. 20/200 is the

limit for legal blindness in

the United States. Hawks

have a very high number

of cones in their retina,

and therfore have a visual

acuity of 20/2.

Visual fi eld is the

measurement of the fi eld

of vision. A normal person

can see 180 degrees

horizontally, and about

120 degrees vertically. A

person with 20 degrees

of visual fi eld will not be

able to see the 11th and

1st hour when looking at

the 12th hour on a clock.

Horses have eyes on

either side of their head,

and are capable of seeing

350 degrees.

Vision

Length of eyeball = 24.5 mm

Volume of eyeball = 5.5 cm3

Weight of eyeball = 7.5 g

Average time between blinks = 2.8 seconds

Average duration of a single blink = 0.1-0.4 seconds

Average amount of blinks daily = 11,500

Average duration of blinks daily = 30 minutes

Average amount of blinks yearly = 4,200,000

Thickness of cornea =

0.54 mm in center; 0.65 in periphery

Diameter of cornea = 11.5 mm

Thickness of lens = 4 mm

Diameter of lens = 9 mm

Composition of lens = 65% water; 35% protein

Number of retinal receptor cells =

5-6 million cones; 120-140 million rods

Number of retinal ganglion cells =

800 thousand to 1 million

Number of fi bers in optic nerve = 1,200,000

Number of neurons in lateral geniculate body = 570,000

Number of cells in visual cortex (area 17) = 538,000,000

Wavelength of visible light (human) = 400-700 nm

Amount of light necessary to excite a rod =

1 photon

Amount of light necessary to excite a cone =

100 photons

Location of the greatest density of rods =

20º from fovea

Highest density of rods = 160,000 per mm²

Peak density of rods = 400,000 per mm²

Density of cones in fovea = 200,000 per mm²

Diameter of fovea = 1.5 mm

Intraocular pressure = 10-20 mm Hg

Volume of orbit = 30 ml

Area of retina = 2,500 mm²

Thickness of retina =

120 microns (ranges from 100 to 230

microns)

Production rate of aqueous humor =

2 microliters/min

Turnover of aqueous humor = 15 times/day

% volume of eye occupied by the vitreous = 80%

Maximal sensitivity of red cones = 570 nm

Maximal sensitivity of green cones = 540 nm

Maximal sensitivity of blue cones = 440 nm

Measurements

3. Six wonderful Unleaded fonts

Barrel is constructed

formed on a subtraction

system to a base shape;

hence the name barrel.

Each letter is designed not

only to be combined into

words to assume beauty,

as most typefaces are, but

constructed based on the

merits and shapes that

best represent that letter,

and make it unique. Thus,

Barrel is best used as a

display typeface and is

not appropriate for body

text.

Some of the characters

assume new elements (as

they progress) to enhance

their visual feel; F being a

prime example.

Barrel

Modular D

1. A grid division fi eld must be established before commencement of operations.

2. The grid division fi eld must be chosen from one of the following: 6x5/ 6x6/ 12x10/

12x12/ 24x20/ 24x24/ freeform.

3. A single square within the grid division fi eld is to be the size of the single operation

form of the basic square shape; ie. a grid of 6x5 will be capable of holding six (6)

basic square single operation forms high and fi ve (5) of the same wide.

4. Forms must fi t squarely within allotted grid division fi eld - no forms are to be placed

half way between or three quarters the way between or any other fraction thereof

between the assigned grid division fi eld.

5. There is to be no scaling of forms (unless this is a universal action through the entire

typeface operation - which will essentially result in a shift of grid division fi eld

mid-operations, which is neither recommended nor allowed). The only allowable

transformation action is a 90° (0°/ 90°/ 180°/ 360°) rotation of any form/combination

of forms thereof.

6. Forms can not be overlapped; they must butt-up against each other. As such, there

is a limit of one form per square within the grid division fi eld.

7. A grid division fi eld of 6x5 off ers the operator the opportunity to engage thirty

(30) forms for any one given letter shape. A 6x6 GDF off ers thirty-six (36) forms per

shape, a GDF of 24x24 off ers fi ve hundred and seventy six (576) forms per shape.

Obviously, the more intense a GDF is the greater capacity for detail is off ered to the

operator, when deciding upon a GDF the operator must consider several things,

none the least being their commitment to the operations. With a small GDF an

operator can produce satisfactory letter shapes in a reasonably short period of time.

However, other considerations will determine whether or not the resultant shapes

are satisfactory for useage or not.

8. All operators are required to have fun and enjoy their operations. If operators fi nd

that they are not having fun, they must immediately cease operations.

Based on the

specifi cations of

Modular Manual v[1].3.3

Modular D was created

in the year 2004. After 3

hours work spanning 2

years, the typeface was

fi nally fi nished.

Modular Manual v[1].3.3

BASIC RULES FOR OPERATIONS CONDUCT

MODULAR TYPEFACE

AND TEAM UNLEADED

Fashion in type, b

about structure,

suit have to confo

structure, or do

structure of a su

the style... one b

two? Structure

Modular, building

and the blue prin

grid.

These typefaces in the type fashion range will be at your local outlet soon.

They are brought to you by Team Unleaded, leaders in global typographic

terrorism.

but what

does a

orm to a

oes the

it define

breast or

defines

is design

nt is the

Unleaded and it’s affiliates are not responsible for any harm caused by viewing or use of any of its typeface

Blox

“It’s Blox. It’s obviously

based on a block. So do

I really need to say any

more? Maybe just that it’s

not that cool...”

tiny writing

tiny writing is a

handwriting font. It is a

poor excuse to jot notes

down on the computer

and conserve paper. It is

not for sale or distribution.

Any off ending user will be

cursed by heretics.

Fashion in type, when does language define the type, what if an 'F' was an offensive sign in Japanese, it would be like going nude to church, shocking fashion, but no function.

These typefaces in the type fashion range will be at your local outlet

soon. They are brought to you by Team Unleaded, leaders in global

typographic terrorism. Unleaded and it’s affiliates are not responsible for any harm caused by viewing or use of any of its typefaces.

Monicle

Monicle was constructed

as a reaction to a bizzare

facination with monopoly.

One circle is the form that

makes the cornerstone of

the typface. This branches

to form the individuality

of each character.

Corkscrew

Derived from a perfectly

functional kitchen

implement. Even though,

corkscrew still remains

the odd one out. The

attention seeker. The

threatened.

Fashion in type, the idea that somethings will never change and some will always stay the same. Helvetica, always the rock, the black suit of the party, it’s a martini not a cosmopolitan. Corkscrew, party animal, but how often will he make an appearance? Does his alternantive ways threaten his life on this earth?

These typefaces in the type fashion range will be at your local outlet soon.

They are brought to you by Team Unleaded, leaders in global typographic

terrorism.

Unleaded and it’s affiliates are not responsible for any harm caused by viewing or use of any of its typefaces

4. Perseverance

5. Changes and Alterations to the Rescued Document

:A: Changes and Alterations to the Rescued Document 30/4/04

1. It’s been a while. :R: Saving The Kids USED BY MATERIAL DEVELOPMENT has been updated. Ive been teaching kids for a while now and was kind of shocked to read my own typed hand saying things like “the kids have to be educated”. This is not some sort of reigme to replace another, its TU, and it’s gentle.

2. I’m beginning to think that Team Unleaded will not be a business. It needs to be more than that, something more like an organisation, with goals that are not fi nancial. Finance and Team Unleaded do not go together. Hence, I have added :O: - Redundant (Dismissed or laid off from work, as for being no longer needed.). The Redundant Section will include all redundant Rescued Document information. This change has included a big overhaul of part 1 (some stuff is still valid, but the approach needs changing). At any undefi ned point in the future, information may be taken out of the redundant section.

3. Ideas for organisations Cross member designing and project organising Applying for recognition and fi nancial aid (including reports of successes and failures) Posting, recording and cataloging ideas Organisation goalsAlliances and other networking mattersLong term planning; Thinking beyond tommorow and stretching goals and projects to span decadesAwareness generation tacticsStructure of management Managing the organisation

IRRELEVANT

As a starting point I’ve put

:A: in for all members to

consider and discuss.

This was done a while

ago, and my thoughts

have changed since

then. I’m now not so sure

whether either direction is

good or bad, or whether

both directions can be

considered.

I was searching the

internet the other night

and I came across a

government website

for volunteers. You can

register your organisation

and attract volunteer

attention to assist your

cause.

Consider producing

a commercial free,

censorship free, volunteer

assisted magazine.

Imagine Team Unleaded

as a business on one hand

and as an organisation on

the other.

Team Unleaded as a

business would have

a hard time producing

a magazine that is a

community eff ort.

A number of problems are

already forseeable. The

business might not have

enough time or energy

within the working week

to fi nance a joint eff ort

magazine. Volunteers

will become naturally

sceptical about the profi ts

or fi nances behind the

magazine. The notion of

whether to use volunteers

or not will be highly

argued by all members.

Members, volunteers

and any participants will

expect all time and eff ort

to be rewarded.

With the current

displacement of all

members, the work could

never be spread easily

one way or the other. As

an organisation this may

not be necessarily easier,

but unlike a business,

an organisation allows a

much slower production

pace.

People working

in a business will

have expectations

driven by fi nancial

goals. Expectations

of organisations are

low. Members of an

organisation are never

expecting a material/

fi nancial reward for their

eff orts.

Team Unleaded as an

organisation would have

it’s own problems too.

Due to the absence of

pressure, production may

ground to a halt. Seeing

no personal gain, all

members may not share

the workload evenly. The

project may run out of

money.

Financially speaking,

working in an

organisation, especially

a NPO, can be crippling.

More often than not,

one’s own fi nances will

assist a project with

no compensation. But

fi nancial assistance by

members is never bitter,

because being a part of an

organisation is often more

uplifting that working in a

business.

A business requires

more fi nancial control

than an organisation,

as well as a working

space, tools of the trade

and various amounts of

compulsory registration

with the government. An

organisation requires little

of the above.

Both arrangements

require members to work

together towards a certain

goal. A business has to be

eff ective to meet fi nancial

ends, an organisation

does not.

The idea of “no fi nancial

ends” can be see either

as attractive or repulsive.

Pouring eff ort into

something without

fi nancial reward can be

diffi cult for people to get

into, especially people

who understand the value

of a dollar. To a volunteer

though, producing

a magazine with no

commercial ties and no

unfair censorship may be

a thrill, with or without

reward.

Further development of

ideas and discussions

will be placed into the

Rescued Document which

will be appearing online.

T-shirt donated to the

Team Unleaded cause

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