The Occupied Times of London

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

totol_photo388_0.jpg - The Occupied Times of London - 3790

Image taken from, 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.

Issue one is being distributed outside St Paul’s Cathedral in London but is also available as a PDF, here; or you can view it on, here.


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  • rob

    h man this is great.

  • rob

    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.

  • Misha

    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.

  • Marcus Leis Allion

    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.

  • Dewy @ Brochure Printing

    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…

  • Jonathan Barnbrook

    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.

  • Mike

    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’

  • Jonathan Barnbrook

    should at least try and get the names properly here the other designer’s full name is: Lazaros Kakoulidis

  • Grania

    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.