01.

Color Palette

Five colors and a tape. This is a photocopy palette — ink on cheap paper, grey where the toner ran thin, red where the editor struck, and highlighter yellow where something mattered. The tape is barely there. If you need more colors, you don't understand the assignment.

Ink Black #0a0a0a --ink-black
Copy Paper #f5f2eb --copy-paper
Xerox Grey #999999 --xerox-grey
Redline #d12600 --redline
Highlight #ffef00 --highlight
Tape Clear rgba(255,252,220,0.52) --tape-clear

Usage rule: Black and paper are the system. Grey is metadata. Red is correction. Yellow is emphasis. If everything is highlighted, nothing is.

02.

Typography

Three monospaced and system fonts. Space Mono for display and headings — brutalist, mechanical, grid-locked. Courier Prime for body text — the typewriter, the memo, the carbon copy. IBM Plex Sans for UI labels and metadata — institutional, functional, invisible.

Display — Space Mono 700
4rem / Display Raw Structure
2.5rem / H1 Exposed Grid Systems
1.75rem / H2 Content Over Decoration
1.15rem / H3 Monospaced Typography Scale
Body — Courier Prime 400 / 700
1rem / Body The copy machine doesn't care about your kerning. It reproduces what you feed it — smudged, slightly askew, with that warm grey where the black should be. This is honest typography.
1rem / Bold Bold is the only emphasis you need. Not italic, not underline, not color. Weight is authority.
UI — IBM Plex Sans 400 / 500 / 700
0.75rem / Caption Fig 1.3 — Structural analysis of grid-based layout system, showing column guides at 100px intervals.
0.65rem / Label Category • Subcategory • Metadata
0.7rem / Meta Last modified: 2026-03-15 // Status: DRAFT // Rev: 003
Mixed Fonts — "Ransom Note" Specimen

Design systems should make you feel uncomfortable if they have too many fonts. Three is already generous. Use them with discipline or don't use them at all.

03.

Spacing

A 4px base unit. Six stops. No in-betweens, no margin: 13px accidents. The grid is the law. Everything snaps to it or it doesn't belong.

--space-xs 4px
--space-sm 8px
--space-md 16px
--space-lg 32px
--space-xl 64px
--space-2xl 96px
Scale Visualization — Nested Boxes
md
lg
xl
2xl
04.

Buttons

No border-radius. No gradients. No box-shadow until hover. Buttons are rectangles with borders — they look like what they are. Hover inverts them. That's the whole interaction model: black becomes white, white becomes black.

05.

Forms

Form controls are rectangles. No rounded corners, no soft shadows, no placeholder animations. A text input is a box you type into. A checkbox is a box you check. If your form needs more than black borders on copy paper, you're designing a brochure, not a zine.

Required. Use your real name or a pseudonym.
Distribution Format
Frequency

Mail-In Subscription

Enclose cash or money order. No checks. No PayPal.
06.

Cards / Panels

Content containers are clippings. Cut from something else, taped onto this page. They have borders because they're physical objects. Some are straight, some aren't. The slight tilt is intentional — perfect alignment is for people who've never used a paste-up board.

Clipping / Standard

Cut & Paste

The standard card. Black border, copy-paper background, scotch tape holding it to the page. This is how content was assembled before CSS Grid existed.

Clipping / Inverted

Negative Space

The photocopied negative. White text on black. Like when you accidentally feed the original face-down and get that beautiful inverted result.

Clipping / Highlighted

Yellow Highlight

Someone ran a highlighter across the top of this one. It means "important" or "read this first." The yellow strip is the only color this card gets.

Clipping / Redlined

Final Draft First Pass

This card has been through editorial review. The red border means corrections are pending. Margin notes appear in the editor's hand.

“Tighten this copy. Too many adjectives. —Ed.”
07.

Alerts / Notices

Alerts are rubber stamps. Uppercase, monospaced, bordered. They don't ask politely. An error is an error. A warning is a warning. No soft language, no friendly icons, no pastel backgrounds.

Institutional Notice This area is monitored by closed-circuit television. All xerographic activities are logged.
Hazard Paper jam in tray 3. Do not open rear panel without authorization. Toner levels critically low.
System Failure Original document not detected. Feeder alignment error. Service call required. Code: 0xDEAD.
Confirmation Copy job complete. 500 pages collated and stapled. Ready for distribution.
09.

The Manifesto

Every zine has an editorial page. This is ours. Read it, xerox it, pass it on.

Design Principles
OR, WHAT WE BELIEVE AND WHY

I. The grid is visible. We don't hide the structure. The columns, the gutters, the baseline — they're all part of the design. If someone can see how it was built, good. That's the point.
II. No gradients. A photocopier doesn't do gradients. It does black, and it does paper, and it does that beautiful grey where the toner is dying. That's the palette. Accept it.
III. Content is king. The text is the design. The layout serves the words. If your design is better without content, it's not a design, it's a decoration.
IV. The copier is the medium. Embrace the xerox. The grain, the slight skew, the way the edges blur on the third-generation copy. These aren't flaws. They're texture. They're proof this thing was made.
V. Imperfection is the point. Pixel-perfect is for corporations. We use rotate(-0.5deg) because nothing in a zine is perfectly straight. The tape is never centered. The staple misses. That's honesty.
VI. Monospace or nothing. Variable-width fonts are for magazines that pay their designers. We use monospace because every character gets equal space. Democratic typography.
VII. Ship it rough. Done is better than perfect. A zine with typos that exists is worth more than a flawless PDF that lives forever in your drafts folder. Print it. Copy it. Pass it on.
— The Editors, Issue #001