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typ(ositive influence)



Team Un Brett Cain Yin Lam Campbel Duncan B

leaded nes 1. What happened 2. Team Unleaded University 3. 6 wonderful Unleaded fonts 4. Perseverance 5. Changes and alterations to the rescued document

ll Dandy Brotherton

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 magnified before printing. This was very fitting with the positive theme.

one set of work was received early on. Only three of the four pieces titled â&#x20AC;&#x153;A true storyâ&#x20AC;? were transferred sucessfully.






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.

Typ(ositive) - a magazine about good design.

Interviewer appears in bold

About design of course.

[Non-format text appears italicized and in square brackets]


We want to educate the people. AND READ About what?

Ok that’s fair enough, but that’s a big area. Which part? Team Unleaded. Why? So they understand, of course. Understand what?

[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]

THIS MAGAZINE SLOWLY. So this is a new version of the magazine. The previous magazines kind of looked something like this… [INSERT] But were gonna change that.

Why we love design [INSERT]

[inside page;]

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


this is not good!

Lots of it.

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.

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]

[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.]

Even we did’t understand our own designs.

How much bad design is there then?

Well, that’s kind of a long story, but to cut it short…

Why did you make so many issues then?

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

It was a very creative exercise. We learnt lots of things. So why are you changing now?

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 finished 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 difference? 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 flashy looking. All these designs are done by people who don’t love design.

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.

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

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?

So good design is what I like?

Because these designs get inside your head, and they start changing the way you think.

No, that’s personal opinion. Good design is the stuff that works. If you stop and look at a design, the first thing you look for is the message.



Did it make you feel good? Special? Do you want a partner like that?

Did the message work? Did it get to you?

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 differently. They have their own idea of what good and what bad design is.

[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 different areas of design… good design, effective

Unabridged, unedited Caines

design, bad design, uneffective design…]

As you can see, I suffered from not having other team members present.

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 differently. [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.]

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 define what is good and what is bad design. for several reason i feel that we shouldnt do this, firstly, 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 define what is good and what is bad design, one could argue it is good design if it reinforces the message, IRRELEVANT 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 artifice without intent of influence, with the underlying schedule of sales, promotion, advertising, influence 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 influence anyone or sell anything, it promoted nothing(initially), it contained no advertisements (one othe first 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

though we lost this innocence, became consumed withour own importance and began thinking about the way a traditional magazine works, sell and influence, 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(..)â&#x20AC;&#x2122;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, filled with half craply written articles about shit that is entirely useless to anyone bar the filling up of these pages upon which they are printed, i would much rather show people purity, without definition, 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,IRRELEVANT 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 first 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!!

But I finally got a better idea. Ooooo! Wonder what it is?

2. Team Unleaded University

This issues report: The eye

This is Team Unleaded Universityâ&#x20AC;&#x2122;s first report. The University strives to bring knowledge and understanding that cannot be found in other design magazines to all members and readers.

The main light source for our world is the sun. All objects around us reflect 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 offer 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 flush 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 first layer of the cornea is comprised of cells that are rapidly replaced (2428hrs.), allowing for quick healing.

The aqueous humor is the small body of fluid behind the cornea. It is produced by the ciliary body and provides nourishment to the surrounding cells.

The vitreous humor is the fluid that fills 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 filled 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 different. 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 different 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 different transparent medium it refracts, and itâ&#x20AC;&#x2122;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 corneaâ&#x20AC;&#x2122;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.

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.

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.


Blind Spot Test

All electrical signals pass from the rods and cones into the retinal ganglion cells. The axons (or nerve fibers) 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 effect 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.

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 fibres from the nasal side of each eye cross over to the other side, but the fibres from the temporal field (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 fibres 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 different 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 flicker fusion rate of 60 flicks per second in bright light and 24 flicks per second in low light. This is the minimum rate an image can flicker without being noticed. Flys have a flicker fusion rate of 300 flicks per second.

The strength of your vision can be understood in two ways; visual acuity and visual field.

Visual acuity is the measurement of your eyesâ&#x20AC;&#x2122; 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 field is the measurement of the field of vision. A normal person can see 180 degrees horizontally, and about 120 degrees vertically. A person with 20 degrees of visual field 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.



























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 fibers 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 VISUAL!CUITY


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.

Modular D



Based on the specifications 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 finally finished.

1. A grid division field must be established before commencement of operations. 2. The grid division field must be chosen from one of the following: 6x5/ 6x6/ 12x10/ 12x12/ 24x20/ 24x24/ freeform. 3. A single square within the grid division field 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 five (5) of the same wide. 4. Forms must fit squarely within allotted grid division field - 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 field. 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 field 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 field. 7. A grid division field of 6x5 offers the operator the opportunity to engage thirty (30) forms for any one given letter shape. A 6x6 GDF offers thirty-six (36) forms per shape, a GDF of 24x24 offers five hundred and seventy six (576) forms per shape. Obviously, the more intense a GDF is the greater capacity for detail is offered 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 find that they are not having fun, they must immediately cease operations.

Fashion in type, b about structure,

suit have to confo structure,



structure of a su

the style... one b two?


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



it define

breast or defines

is design

nt is the

Unleaded and itâ&#x20AC;&#x2122;s affiliates are not responsible for any harm caused by viewing or use of any of its typeface


“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 offending 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 itâ&#x20AC;&#x2122;s affiliates are not responsible for any harm caused by viewing or use of any of its typefaces.


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.


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, itâ&#x20AC;&#x2122;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 itâ&#x20AC;&#x2122;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 updated. Ive my own typed some sort of

a while. :R: Saving The Kids USED BY MATERIAL DEVELOPMENT has been been teaching kids for a while now and was kind of shocked to read hand saying things likeIRRELEVANT “the kids have to be educated”. This is not 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 financial. 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 undefined 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 financial aid (including reports of successes and failures) Posting, recording and cataloging ideas Organisation goals Alliances and other networking matters Long term planning; Thinking beyond tommorow and stretching goals and projects to span decades Awareness generation tactics Structure of management Managing the organisation

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 effort.

A number of problems are already forseeable. The business might not have enough time or energy within the working week to finance a joint effort magazine. Volunteers will become naturally sceptical about the profits or finances 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 effort 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 financial goals. Expectations of organisations are

low. Members of an organisation are never expecting a material/ financial reward for their efforts. 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 finances will assist a project with no compensation. But financial 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 financial 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 effective to meet financial ends, an organisation does not. The idea of “no financial ends” can be see either as attractive or repulsive. Pouring effort into something without financial reward can be difficult 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

typ(ositive influence)  

Issue 10 of team Unleadeds thing.

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