There were examples of fonts he had designed, the influences he drew on (Barnbrook is a keen historian of vernacular design, and many of his fonts refer to bits of it — from Edward Johnston's Underground type to Yugoslavian Communist brand lettering to the Lindisfarne Gospels), along with related context (such as how Mason was originally named Manson, but Emigre renamed it after being deluged with letters of protest, and Barnbrook's surprise at how Exocet was used by a neo-Nazi group for its website). There were also examples of more recent typefaces, which included NixonScript (a "font to tell lies with"), Expletive (a cursive font with two sets of forms, one which goes above the base line and one below), Prozac (a font made up of just six shapes in various rotations) and the Shock & Awe series), and a set of alternative Olympic symbols named "Olympukes" (and free for non-commercial use), with symbols for things like bribery, reinforcement of oppressive regimes and ridiculous made-up sports. There was also a section of artwork riffing off North Korean propaganda art and mashing it up with Western commercial design (such as Kim Jong Il as Colonel Sanders; in some ways, this was a little like Banksy's "Santa's Ghetto" salon, only with better design/more thought/less punk-rock attitude).
The exhibition is on until the 10th of October, if you're interested in this sort of thing.
Fonts are a runny thing. serifs suck. acb tried to send you an email have had no computer access since january. don't know how else to get hold of you. lost all lj info. astobek13@gmail.com . please send me your email address in a suitable font...am seeing some brisvegas music makers and stencil artists today to discuss post-modernism in a neo-christian world. bek