COP 3 - Semiotics - Bastard Typeface

The experimental typeface ‘Bastard’ designed in 1988, by Jonathan Barnbrook, responses to the lack of appreciation shown to black letter typography, and how he felt there was a certain taboo against its use due to its connection with fascism. ‘I was really interested in the history of Blackletter, a neutral style of letterform that had been hijacked by the Nazis, but was so central to the development and history of typography. I felt that it was important not to ignore their five hundred years of influence while acknowledging their twentieth century fascit associations.’ (Barnbrook, 2007) Barnbook’s typographic experiments have a clear appreciation of past styles being influential in its design, reflecting the postmodern theories of pastiche, he explains that he aims to not ‘just copying past letterforms. I am not interested in doing a ‘revival’. What is important is to reinterpret the beauty that you have found in a contemporary way, to acknowledge that it exists in a different way, to acknowledge that it exists in a different society now. That the letterforms are a valid response to the way people use language today.’ (Barnbrook, 2007) The (Figure 6) Bastard typeface, again displays the letterforms A ë s and G, the image yields a number of sporadic signs, removed from its linguistic message, the clarity of each letter is difficult to read, yet there is a clear connection to Germanic Blackletter typography, evident in the elongated letterforms and sharpe calligraphic edges, readability has clearly been disregarded in the typefaces design. In the typeface there are constant hints of more contemporary graphic jargon, the use additional shapes and symbols, in turn define this typeface as contemporary. When comparing Figure 6 & 2 (Bastard & Helvetica) the way the signs value is determined is much more evident, the clarity of the letterforms has taken a back foot and the aesthetic value then at the forefront. Barnbrooks typeface designs are influenced heavily by past styles, as he explains the influences for the typeface Manson - ‘is a tightly wound and unnerving exposition on beauty. It references the centuries-old tradition of stone carving, elements of classical architecture and letterforms found in Medieval manuscripts, but also the headstones of desolate North London cemeteries, the cross-hairs used in aiming a firearm, and the nihilistic horror of one of the most infamous serial killers of the twentieth century.’ (Barnbrook, 2007) All of Barnbrooks typefaces have been designed to represent his own social commentary of the multicultural and multi-influential nature of culture in the present day.


- This analysis has been useful in testing the semiotic theory but will not make it to the final essay.