The Occupied Times of London
Image taken from virusfonts.com, by Tzortzis Rallis
As the City of London Corporation seeks to evict the Occupy London protesters from the grounds of St Paul's Cathedral, the movement yesterday launched its own newspaper, which makes good use of Jonathan Barnbrook's typeface, Bastard...
The Occupied Times of London is designed by Lazaros Kakoulidis and Tzortzis Rallis who used Barnbrook's VirusFonts typeface, Bastard, for the large intro caps to features and PF Din Mono, designed by Panos Vassiliou of Athens-based foundry Parachute, as the main body copy face.
A nice touch is that individual Bastard caps also crop up within the newspaper's headlines; perhaps a graphic allusion to the occupiers wedging themselves into the capital's streets.
"We think [Bastard] is a rather apt choice considering the ideology of the typeface," write Barnbrook Studio on their Virus blog, "the reinterpretation of blackletter semiotics and insinuation that multinational corporations are akin to the new fascists."
Of course, no protest is complete without the distribution of banners and signs, so the back page of the first issue is also a handy print-out placard.
And here, the two typefaces work brilliantly together.
CR in Print
Not getting Creative Review in print too? You're missing out.
In print, Creative Review carries far richer, more in-depth articles than we run here on the blog. This month, for example, we have nine pages on Saul Bass, plus pieces on advertising art buyers, Haddon Sundblom, the illustrator who ensured that Coke will forever be linked with Santa Claus, Postmodernism, Brighton's new football ground and much more. Plus, it's our Photography Annual, which means an additional 85 pages of great images, making our November issue almost 200-pages long, the biggest issue of CR for over 5 years.
If you would like to buy this issue and are based in the UK, you can search for your nearest stockist here. Based outside the UK? Simply call +44(0)207 292 3703 to find your nearest stockist. Better yet, subscribe to CR for a year here and save yourself almost 30% on the printed magazine.
h man this is great.
Argh, sorry, I wanted to write a longer comment than that, it doesn't even make sense. Anyway, this is very nice. It's so refreshing to see politically motivated material avoid falling into the badly designed street-riot style that usually happens. A great example of design helping to raise the issues at hand up a level, away from the misconceptions that people generally hold about those involved in protest.
I may not agree with what they're saying, but I'll defend to the death their right to design cool shit to say it.
It’s worth remembering that the aesthetic of protests is often the result of the available resources within the situation, and the urgency of the action it is tied to. However, I too am excited to see that design and designers are working *with* others to produce articulate and thoughtful designs.
simple but meaningul enough to get the message across. protests such as OWS call for some really unconventional ways and they seem to hit the mark with this issue in by choosing to go with a bold fontface in black and white instead of the usual reds...
very happy to have bastard font used by them. absolutely appropriate considering the concepts behind the font. very well integrated into the layout here too. the design of the newspaper is by tzortzis rallis and his friend lazarus. looking forward to the next issue at some point next week.
Im not sure if its just me but it gives the paper a look and feel none too disimilar to Julius Streicher's 'Der Sturmer'
should at least try and get the names properly here the other designer's full name is: Lazaros Kakoulidis
strong straight and eminently articulate - with the most perfect reference to all that is classical and traditional - literally turned inside out - feel so proud on behalf of all those that made it happen - Lazarus Kakoulidis Tzortzis Rallis and of course Jonathan Barnbrook. Thank you for the reinforcement of the strength of good typography and straight black and white.
|Words of the Umbrella Movement (2)|
|New designs from Inkahoots, Snask, The Partners & more (2)|
|The making of a Coca-Cola neon sign, 1954 (49)|
|Cravendale introduces Barry The Biscuit Boy (46)|
|Why Black & Decker became Black + Decker (47)|
|What makes a great image? CR's Photo Annual judge Gemma Fletcher shares her favourite work|
|Rebranding the YMCA|
|Pelican Books: an unrivalled online reading experience|
|Crafts Council launches Education Manifesto|