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Issue 10 of team Unleadeds thing.
Citation preview
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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