Design inspiration from around the world.

What the FFF?

Founded in 2007 by an ever growing group of designers, illustrators, coders and makers eager to collect and share the best design work they came across, FormFiftyFive soon became an international showcase of creative work.

We scour the world’s best creative talent to keep FormFiftyFive a foremost collection of current design from both the young upstarts and well known masters. We’re constantly on the look out for new features that dig even deeper into what’s happening in the design community, so get in touch if there’s something you’ld like to see on here.

Have a look round, if you see something you love or hate be sure to comment, and drop us a line if there’s a juicy bit of creative gold you’d like to see on here.

Keep it real, the FFF team.

The FFF team

Glenn Garriock — 1582 posts
Graphic designer – Uetze, Germany

Jack Daly — 1191 posts
Graphic designer & Illustrator – Glasgow,…

Lois Daly — 45 posts
Lois Daly – Graphic Designer, Glasgow

Alex Nelson — 81 posts
Designer/coder – Leeds/London/Melbourne

Guy Moorhouse — 46 posts
Independent designer and technologist — London,…

Gil Cocker — 321 posts
Designer & Maker – London, UK

Liam Crean
Liam Crean — 20 posts
Designer & Developer – Derby, UK

Barry van Dijck — 125 posts
Designer & Illustrator – Breda, The Netherlands

Gui Seiz — 135 posts
Graphic Designer – London, UK

Chris J
Chris Jackson — 72 posts
Graphic Designer – Leeds, UK

Tom Vining
Tom Vining — 12 posts
Graphic Designer – London, UK

Tommy Borgen
Tommy Borgen — 15 posts
Graphic Designer – Oslo, Norway

Clinton Duncan — 24 posts
Creative director – Sydney, Australia

Amanda Jones — 27 posts
Graphic Designer – Ann Arbor, Michigan

Gabriela Salinas — 21 posts
Graphic designer – Monterrey, México.

Felicia Aurora Eriksson
Felicia Aurora Eriksson — 7 posts
Graphic Designer – Melbourne, Australia

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If there’s a juicy bit of creative gold you’d like to see on FFF, or you’d just like to get in touch, email us on the address below and we’ll get back to you as soon as we can.

You can also check out our guide to the perfect submission here.

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Categories rowsEverything Interviews Books Events Jobs


The Edges of These Isles

A lovely post to finish off the year with! The Edges of These Isles is a collaborative project between photographer Simon Bray and artist Tom Musgrove, depicting seven landscape locations from across the British Isles using their respective mediums. The short documentary film above (a collaboration with DoodledoMOTION) is about the origins of the project, the journeys, the work being created, as well as an exhibition and release of the self-published book.

The full documentation of The Edges Of These Isles project is a beautiful A4 124page perfect bound book, containing photographic and artistic work from all 7 landscape locations as featured in The Whitworth exhibition, arranged in chronological order, matched alongside sketches, hand drawn maps, personal accounts of each trip from Simon & Tom and journey track playlists. It was printed on G.F Smith papers by Pressision, Leeds UK.

You can order prints from the book here.



Here at FFF we’re big fans of quality design whatever the medium so when the brain behind super cool London fashion brand Percival got in touch we sat down to find out what they’re all about, and what’s new in their world as 2016 gives way to 2017…

For those who might not know you, tell us a bit about Percival – your story and background?

Percival is 5 years old and still owned by me (its co-founder and head designer Chris Gove).  I try to keep as much of the manufacturing in London as possible, the story of garments designed and manufactured in London is both rare and a story that our followers really appreciate. It allows me to drop multiple short runs of product a year, keeping its offering fresh & varied.

It started as online store and, after numerous popup shops identified Berwick Street as an up-and-coming menswear area to launch our flagship store. In September 2016 Percival closed the doors to its store due to a massive rent increase and moved everything to a new online plartform after receiving its first round of investment.

Noted followers & wearers include; Alexa Chung, Benedict Cumberbatch, Rick Edwards, Jack Guiness, Alex Turner & Matt Helders.

Percival has a reputation for pushing creativity – how do you remain motivated and inspired to bring new ideas into your collections?

Part of the Percival ethos is to ‘redefine British classics through texture and print’, having that one line as a brief to yourself is a constant reminder to think about new ways to construct or frame the way we try to think about wearable menswear. I am always collecting references from textiles, graphic design and architecture, but go through phases of taking to different aesthetic references. More recently it was the patterns on the seat upholstery of public transport, they reminded me a lot of 80s knitwear jacquards.

How has your background in graphic design influenced your current career in fashion?

Almost all of my graphic design career was freelance, I spent a decade in a huge variety of agencies in London. Numerous pitches and design projects of all sizes was basically ideal experience for when it came to branding and packaging the tone of my own product – I knew exactly how to go about it.

Can you tell us a bit about the new Winter collection?

It’s a new limited edition range of outerwear & knitwear for December. We’ve produced a qty of 30 only for each style at our London factory, each one individually hand numbered. The story of timeless classics enhanced with London based construction and Italian fabrics, the Percival Pea Coat, Sheepskin collar Whitley jacket and Outershirt have been brought back in our classic neutrals of navy and charcoal, but we’ve included a cinnamon Pantone that runs throughout the collection. Our knitwear, woven in Portugal from organic lambswool, enriches the collection with the creation of our custom ‘blanket‘ weave.

The Blanket Weave you’ve just released is particularly interesting, can you tell us a bit more about that?

This blanket weave uses the technique of completely reversing areas of knit jacquard to give the appearance of multiple tones in a limited colour pallet by using the back of the knitted piece. It’s a new weave I developed with the technicians in Portugal, for a few seasons I’ve been trying to find a way to use the reverse of a knit weave. Usually hang loops on the reverse tend to snag on everyday objects preventing its use. After a 6 months of development we found a way to to incorporate the front and reverse on one side.

..did you have the pattern/design in mind before you discovered the technique, or did the technique inform/dictate the design?

I had collected a lot of references from Ottoman Rugs and Kilim textiles, generally they are all hand woven giving them a sense of uniqueness. I wanted to replicate a similar tone with the new knit collection. Plain woven knit jacquards tend to feel quite geometric, computer generated – I had created a jacquard artwork that didn’t repeat, we used that and references from the inside of lots of previous knit jacquards.

Anything exciting in the pipeline for 2017?

We’ve just launched our new online platform and have moved to producing multiple seasons a year rather than the standard Summer and Winter. We’ve moved almost everything to our London factory which means turning round ideas quickly with short runs using special edition fabrics. We’re soon to launch our first leather and accessories, so 2017 should be exciting!

Go get yourself some new togs!


Impact 1.0 & 2.0

Unit Editions have just released a two-volume survey of the front covers of design magazines, journals and periodicals – 1.0 (Unit 27) covering 1922–73, and 2.0 (Unit 28) covering 1974–2016. Spread over 768pp it offers ‘a helicopter view of graphic design trends and stylistics backflips’. Starting in 1922, and coming up to date in 2016, it’s a homage to the great design publications of the past (nearly) 100 years. In these two new books you will find the covers of design magazines, journals and periodicals of all kinds. They come from many countries – including Japan, India, Russia, Switzerland, USA and Iran, and they cover many topics – graphic design, typography, architecture, interiors, print, theory and history. But above all, they are brilliant specimens of innovative visual design. We caught up with the books editors Tony Brook and Adrian Shaughnessy to find out more…

Why this book, why a double issue, and why now?

AS: This book began, like so many of our books, with a visit to an archive. Tony Brook came back from a trip to UCA Epsom (part of the University of the Creative Arts), raving about the archive the school has recently acquired. It’s the collection of the famous Amsterdam bookstore, Nijhof and Lee. No longer in existence, the shop was a mecca for designers for many years, and when Warren Lee, one of the founders, retired, his collection of graphic design magazines was acquired by Epsom. Tony came back from his visit with his eyes on stalks. The collection was staggering and, thanks to the generosity of Epsom, it soon became clear that a book was begging to be made.

The double issue came about when we started speaking to friends who had their own “archives” of rare specimens. Suddenly we had too much for one book, and with the time span – 1922 to 2016 – it was obvious that the book could be split logically into two volumes.

Why now? Well, as more and more design writing, reporting and image curating goes online, it seems timely to remind ourselves the debt we all owe to the editors, writers, designers and publishers of printed design journals. Without it’s printed journals, the craft and profession of graphic design would be infinitely poorer.

TB: As Adrian says the project just grew, we started off thinking that there was a something in the subject based on my own collection but soon realised that it was far richer and deeper than we imagined. It seems the perfect time to look backwards and forwards, there are some brilliant innovative new magazines coming through.

Steven Heller writes: “As we head deeper into the age of hand-held devices, covers will become obsolete.” – Do you agree? Or will there still be need for books like these in 50 or 100 years?

AS: Who knows if we will still have a habitable planet in 50 or 100 years, far less printed books, but as long as we’ve got graphic designers, we’ll always have printed matter. But of course, in a world of free online content, printed journals have to work harder than ever to justify their existence – and their cover price! The internet is faster than print and it’s mostly free: but so much online design publishing is gossamer thin, so there will always be a place for reflective and informative design journalism. It will be more niche than ever before, and there will be fewer big circulation mags, but that needn’t be a bad thing.

TB: The book is a tough technology to beat, it isn’t going to die any time soon. The initial impact is still going to be key whether the content is delivered via paper or pixels.

Out of the thousands of covers from the last 100 years how on earth do you go about selecting which to include? What was the criteria?

AS: Early on we realised that we couldn’t include everything, so we fell back on a trusted Unit Editions’ criterion – if we (Tony, the Spin/Unit team and me) admired a publication, then it was in. So the choice is mainly based on personal judgment, but also a desire to represent the range of design publications across international boundaries, and across subject matter. For instance, we agonised over whether to include architectural mags, but in the end we decided to include them, mainly because the covers were so often excellent examples of graphic design.

We ended up with something we didn’t expect – both volumes, when taken as a whole, give the viewer an almost unrivalled timeline of graphic styles and trends. I can’t think of anywhere else where you’d see this more clearly. It runs from 1920s German severity, though the postmodern eclecticism of Émigré in the 1980s, to the plurality of 2016 – you’ve pretty much got a helicopter view of graphic design in the past (nearly) 100 years.

TB: It felt important to represent the sheer scope of what has been made, I think that informed our choices to some degree.

I’m sure like me many buyers will be much more familiar with the covers in Impact 2.0 than 1.0 – do you have a favourite era from these books? and do you think they accurately represent the wider trends and styles evident in design work across the decades?

AS: We worried that 2.0 would be less interesting than 1.0. But we were genuinely surprised to find that 2.0 stands up really well. I thought I’d lean towards the 60s stuff, but there are mags being produced today that are really just as good.

TB: Personally I think there is a sweet spot between the 1960’s and the 1970’s when the language becomes more experimental and dynamic. As you go through the books it reveals the influence of various movements around the world. The way styles ebb and flow is fascinating. You would get a pretty good design education even if these two books were the only ones you owned.

The designers who have work included is a who’s who of superstars (Rand, Garland, Henrion, Brodovitch, Brownjohn, Vignelli, Aicher, Lubalin, Brody etc) – what do you think it is that draws so many talents into the world of editorial/magazines?

AS: Designing the cover of a design magazine has always been a sort of Holy Grail for graphic designers. I asked a few of the people I interviewed in the book about this, and pretty much everyone said that yes, it was a great opportunity, but because the audience was other designers, you had to work twice as hard.

You’re both avid collectors of design ephemera – and you both love print. Do you have favourite titles or covers you just had to include? Any special pieces from your own personal collections make it in?

AS. Yes, some my copies of early Idea magazine made the final cut, and another Japanese mag called Industrial Art News. I also like Stile Industria from Italy, and amongst current mags I’d mention Concrete Flux.

TB. Idea, Octavo, Neue Grafik, TM.

Adrian recently mentioned always aiming to keep photographed content readable on the page. Did you consider going with a larger format for these titles at any point?

AS: When we do a book, we spend more time discussing the format than just about anything else. We agonized over the size of Impact, but in the end we concluded that since magazine covers are bold and eye catching, we didn’t have to worry too much about not being able to read the small print. I think in all cases it’s readable.

Favourite magazine – of all time? And contemporary?

AS: For me, it’s the two Japanese magazines: Idea, of course. But also the wonderfully named and search engine bothering Graphic Design. There were only 100 issues printed and it’s full of good stuff. I’d also say Architectural Review is an undiscovered gem from the 60s. Covers were by leading British designers of the day – most of whom are now forgotten. Coming more up to date, I’m amazed at how fresh Émigré looks. Amongst current mags I really like Graphic (from Korea) and an architecture magazine called Archphoto.

TB: That’s an impossible question, all of the above plus TM, Neue Grafik, Form from then and from now – Eye Magazine, Slanted, ID Pure, Printed pages etc.

Lastly, 2016 has brought new titles, events and products – what can we look forward to from Unit Editions in 2017?

AS. Well, we are in danger of turning into a real publisher! We’ve got a pipeline! In other words we’ve gone from only working on one book at a time, to working on multiple titles. We have books being written and designed by other people. So if you like design books, hold onto your socks, next year is going to be busy!

Read more


Happy CHRIS-tmas

Skiddle approached StudioDBD asking if they could design some Christmas cards to help them raise a bit of cash for MacMillan Cancer Support. Sadly a good friend of Skiddle and colleague Chris Glaba had been diagnosed with a terminal form of cancer and given just a few months to live. Skiddle wanted to do their bit to help and are on a mission to raise over a £100k in the next 12 months to support cancer research.

StudioDBD decided to speak with a few design friends and see if they’d be willing to help out by designing their own card. StudioDBD founder Dave Sedgwick:

The brief was to interpret the music of Christmas and to use Skiddle’s brand colours (Skiddle are a ticketing/music company so it was pretty apt). The response back was amazing and both Skiddle and StudioDBD are massively grateful to Superfried, Stan Chow, Eve Warren, Lee Goater, Querida, Lundgren & Lindqvist, Si Scott, Nick Deakin and Build for all their hard work and involvement in the project.

You can purchase all 10 cards (StudioDBD did the tenth one) with all the profits going to Macmillan Cancer research by clicking here.


Studio Feixen

Studio Feixen is an independent Design Studio based in Lucerne, Switzerland and founded by Felix Pfäffli in 2009. They’ve just launched a new website, an expended team, new projects and a new shop! Here at FFF we see a lot of studio sites, and this stands out as one of the best – its super easy to use, downloading projects is a doddle, and there’s some lovely touches hiding round every corner.

“We focus specifically on nothing in particular. Whether it’s graphic design, interior design, fashion design, type design or animation?–?as long as it challenges us?–?we are interested. We work internationally with clients like Nike, Google, Reebok or The New York Times as well as more locally with institutions like Wanderlust or the Nuits Sonores Festival in France, Lucerne University of Applied Sciences and ArtsSüdpol or the Luzerner Theater.”

The Südpol is a multi purpose cultural center in Kriens, Switzerland, close to Lucerne. It houses a theatre, a symphony orchestra, a brass band, a music school, a restaurant, a flea market, and rents out space for performances of music, dance, theatre, literature, digital arts and many more. From 2010 to 2015, Felix Pfäffli was commissioned to design all posters for the venue, and a book collating them all is in the works. We spoke to Felix to get the latest on everything Feixen…

Your site is live and you just announced some big changes – congrats! Thanks, we are super happy we are finally online. We work now since a year as a studio. Before it was just me. So for us being a team now it’s a big moment.

The site is a triumph, was it a hard project to realise? Ha, ha, ha! Thanks! Hm. It was a big project for us. For sure. But it wasn’t hard – it was just a long project. We also had great help from our fist intern Loana Boppart. And we simply took all the time we thought was necessary. In the end we are all super happy how we ended up. And I think it was also very important to not over hesitate. All the ideas like a chat or the crazy press folders and the header image came on the way. We tested out different structures different starting systems and played around like children play with lego.

Whats it like going from a solo practise to a small studio of 3? It’s great! I simply realized that over time its just no fun to work alone. It’s an incredible feeling to realize what happens if you merge talent. There is a huge tradition of graphic designers which are known as single person. But in fact I think we are living in another time. Today its about teamwork, about collaboration and this idea of one person knowing and creating everything should be an idea of yesterday. Work gets better the more people are working on a project. The more eyes the more talent you can put into your work the better. Also – lets be honest – success is much more fun to celebrate in a group. We fight together, we have our goals and if somebody has a bad day the others help you to concentrate on reality.

Can you tell us a bit about the ‘lab’? Yes. We are working on it. I guess in about half a year we will go online with our second page ( There we will publish our in house projects. The first releases will be our studio font. A book. And our own clothing brand.

When can we expect to see the book?! Depends on what book you mean. We will launch a book which is secret at the moment. I cant talk about it at the moment, since the idea is so simple that I think its funnier to publish suddenly with nobody knowing anything about it before. The other book about the südpol posters we are working on at the moment will be on one hand of course an overview of the 99 Posters I designed for the südpol with some background informations and sketches of these works. And on the other hand it will be about the idea of studio feixen at the example of the exhibition we are creating simultaneously.

We are a studio that creates visual concepts. So we create a lot of corporate designs but actually hate limitations and corporate designs. So in a way our job is to formulate borders but at the same time we try to set these borders in a way that we still have enough freedom. Do you know what I mean? We hate borders but we make them. Our solution for that problem is simply that we try not to make border but rules for a game. So in the end every application we do for a client should feel like playing a game – where we don’t really know how it will look in the end.

With very graphic work such as your posters, do you start by sketching, or do you play directly on the computer? Its a combination. Sometimes a sketch is a starting point. Sometimes an experiment on the computer. I think that is not so important. For us there is no difference anymore between computer work or hand-made stuff. Its just tools. Whether its a pencil or a mouse doesn’t really matter. What is really important I think is: We don’t believe in thinking about design ideas. We believe that it’s not possible to imagine a new visual language since everything you can imagine is actually just a combination of stuff you’ve already seen somewhere. You have to make it. And look at it. And react. So when we start a project we don’t loose a lot time talking about it. Since after ten minutes hearing a client we all already have twenty ideas how that could look like we just start trying out suff. What then happens is the interesting part I think. You print out your ideas. Put them on the floor. Try to find out what feels good. Search for combination until suddenly you find a language that does everything or even more you expected.

You’ve worked with some incredible clients already – anyone still on your wish-list? Uh! The list of stuff we would love to do is incredibly long actually. We also realized that it’s probably not possible to do everything we would like to do in our lives. But an attempt to prevent this is actually our Lab. That’s the part of our company which needs no clients. When it comes to clients its absolutely the same. I mean who wouldn’t like to design a car for Jay Z? Or who wouldn’t say no to be in the list of incredible designers which designed a cover for the New Yorker? And it would also be cool to redesign the incredibly ugly looking logo of Uber.

Thanks Felix! Now go enjoy some time with that responsive header :)



Its almost a fortnight since we attended this years Modern Magazine Conference in London, MagCulture’s fourth annual event for mag lovers once again held at Central Saint Martins. A range of diverse & international speakers from established titles to new and emerging magazines gave the audience plenty to think about…

Christoph Amend, Editor-in-chief, ZEIT magazine (DE), Kirsten Algera, Editor-in-chief, MacGuffin (NL), Gail Bichler, Design director, New York Times Magazine (US), Seb Emina, Editor-in-chief, The Happy Reader (UK), Paul Gorman, Journalist, currently writing ‘Legacy: The Story of The Face’ (UK), The Ladybeard team (UK), Penny Martin, Editor-in-chief, The Gentlewoman (UK), Rebecca Nicholson, Editor-in-chief, VICE UK, Kai von Rabenau, Editor/publisher, mono.kultur (DE), Tony Rushton, Ex-art director, Private Eye (UK), Jack Self, Editor, Real Review (UK), Terri White, Editor, Empire (UK), Liv Siddall, MC for the day!, Editor, writer, Rough Trade magazine (UK)

There was some great coverage of the day by friends of FFF including Rob Alderson for wetransfer which you can read here, and a great little reflection by Its Nice That available here. For those of you who prefer to listen to other people chat about events you can listen along to the lovely Steve Watson of Stack Magazines in conversation with ModMag organiser Jeremy Leslie on the Stack podcast here, or delve a bit deeper with this special episode of Monocles ‘The Stack’ featuring Tony Rushton from ‘Private Eye’ and the editors of ‘The Happy Reader’, ‘MacGuffin’ and ‘Empire’.

We’re already looking forward to the ModMag 2017!

Photography credit: Owen Richards


F37 Jan

Jan is a lovely new font by Rick Banks for the F37 Foundry and exclusively sold at Hype For Type. Inspired by Jan Tschichold’s geometric sans-serif and Matthew Carter’s Bell Centennial font, F37 Jan features pronounced ink traps. The font contains alternatives and covers an extensive range of Latin-based languages, including Western and Eastern European.



Lots of designers scratch their product design itch (increasingly turning to funding platforms to see their ideas realised) but this is a case of someone doing it the ‘old fashioned’ way… Ric Bell of POST has spent the last couple of years figuring out how to make his three-dimensional wooden desktop calendar a reality! Called DodeCal it’s a beautifully made, nicely weighted, precisely laser etched object and a joy to hold in the hand. It is made for people who appreciate design, maths and traditional craftsmanship. The initial run for 2017 is of 100 – a number is hand-written on a brand card inside the box along with the calendar. I spoke to Ric to find out a bit more…

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Jenue is a Spanish Artist and Art director, who divides his time between Madrid and London. He makes playful images for editorials, music, and advertisements with his own colourful view and style for clients like Nickelodeon, Wired Magazine & Aiga Design.


Interview: Dan Woodger

Hi Dan. First of all, tell us a little bit about yourself and what you do.

Hello! Thanks for chatting with me — I’m a freelance illustrator and commercial artist currently living and working in Kingston, London. I like to create colourful, playful character-based illustrations, laced with a bit of tongue-in-cheek humour. I graduated from the University of Brighton in 2011 and over the last five years I’ve been building my portfolio, having been fortunate enough to work on a number of fun projects for clients such as Google, Pepsi & The New York Times.

How did you discover that illustration was what you wanted to pursue as a career?

It was slightly by accident! I come from a small army town in Hampshire and it’s fair to say there isn’t much of an art scene in Bordon & Whitehill. Despite an all consuming love of drawing, there never seemed to be a path into any line of work that allowed me use this particular skill as a way to earn a living! So for most of my teenage years I considered art a hobby and focused my energy and attention on sport (golf in particular). I had a part time job at the local golf club working in the pro shop while studying for my A-Levels. For a good few years, I set my sights on becoming a teaching pro. It was only during the last two weeks of (what I thought would be) the end of my higher education, that I realised my college offered an art foundation course. I figured one more year of free education concentrated solely on doing art didn’t sound half bad! So I signed up and then everything just clicked — I saw a pathway, and from that day on, there was nothing else I wanted to do.

Your work has evolved over the past couple of years and you now have a really identifiable style. How would you describe your work?

That’s a really good question, I need to find a much better way of describing it. I used to say it’s sort of ‘cartoony’ — perhaps similar to the style of The Simpsons — but over the last few years I’ve become more interested in symmetry, colour balance and have grown to have a better appreciation of space. So in that respect, at times I feel more like a designer. I think it’s somewhere in between the two. I love clean lines but also like my characters to still maintain a little ‘wobbliness’, which is why I still draw everything with a Wacom tablet in Photoshop… I just use more straight lines and shapes than I used to.

What would you say are your biggest influences/inspirations?

I’m not particularly knowledgable about artists and designers, but I think a childhood filled with Roald Dahl stories, Martin Handford’s Where’s Wally books & The Simpsons helped to shape my early interest in drawing and informed my sense of humour.

I’m also an avid consumer of media content — I listen to podcasts all day long and love TV (particularly period shows based in America in second half of the 20th century). I was full-blown obsessed with Mad Men and more recently Stranger Things & Narcos, there’s something about nostalgia and modern history that resonates with me. I think these cultural reference points work their way into my work in a subtle way.  

I would also say my parents, who taught me the value of hard work, something I pride myself on. I always consider myself more hard-working than I am talented! I also owe them for being so supportive and not pressuring me to do what they wanted me to do, especially when I came home and told them I wanted to be an illustrator. Not exactly renowned for as a steady line of work!

Do you think it’s important, that as a commercial illustrator, it’s good to have a unique style of work?

Yes, absolutely. Personally, I think if you’re going to make something, and put your name to it, be original. It is possible to make a career riding off another similar style of illustration, and I’ve seen plenty of people making a living that way, but I think the pride and satisfaction I get comes from the knowledge that what I draw is truly mine.

Do you produce personal work outwith your own client projects?

Not enough, honestly. I would like the time to do more of my own work, but I take such pride in the work I do for my clients, I end up spending the majority of my time perfecting these projects. Not that that’s a bad thing — I have so much fun working commercially it’s not like I feel creatively dissatisfied. 5 years doing this full time and I still get excited by every new brief and project. Maybe one day that’ll change, but right now I feel very creatively satisfied.

What’s your process/approach when it comes to new projects or briefs?

I’m fortunate that I have a style that lends itself to different platforms and mediums, so I’d approach an editorial brief slightly differently than I would an advertising brief. However as roughly 7 out of 10 jobs I take on are editorial, I’ll concentrate on how I approach that type brief here.

First of all it’s excitement. Literally every time I hear that ping of the incoming email I get a buzz. Then I’ll make myself a coffee and read though the brief.

Next I’ll sketch out 2 or 3 ideas and send those over to the client for review. I truly love idea generation, but I’ve also learnt over the last few years that sometimes a funny idea might not quite work visually. There might be too many greys and browns in the composition, or the illustration is far too complex for the requirement. So I’ve learnt to carefully think through what the final, coloured artwork would look like it situ in the publication first before I propose the sketch.

What would you say is the high point or biggest challenge in terms of commercial projects that you have worked on?

High point was definitely getting to go to Canada to work on the PepsiMoji campaign. The project itself was very different to what I usually do in terms of my style of work, but to have the opportunity to go to Toronto to work on an enormous campaign and be put up in the Ritz Hotel for 3 weeks has to go down as one of the best experience of my life, let alone in my illustration career!

The biggest challenge I’ve had is still the LINE emoji project I worked on in 2014 to design one thousand emojis in just ten weeks. That was a real lesson in what constitutes a healthy work/life balance! The project was a hit and I was incredibly happy with the outcome, but I would never push myself that hard again. I put on a stone in weight and went so pasty white I was almost translucent.

I also had a testing experience recently when I’d booked to go to Bestival on the Isle of Wight but then had four editorial jobs all come in the week before. I was still sketching on the ferry crossing! Miraculously, I got all four jobs signed off ten minutes before I got to the festival site. All part of the fun of working for yourself!

You collaborated with Guy Moorhouse / Futurefabric on your brilliant new site. Tell us how that came about.

Yes! He’s a really nice guy and insanely talented. I first came across his work a few years ago when another site he designed stopped me in my tracks — it was so fresh & beautifully designed I kept the site in the back of my mind with the hope that Guy might be willing to redesign mine when the time came. Fast forward to January this year and I finally had a window to think about rebuilding my own. Guy was the only person I really wanted to do it, I felt our styles would complement each other. Fortunately our schedules lined up and he agreed to take on the work. Interestingly, after a few emails back and forth we actually discovered that we live five minutes from each other! So after a trip to the local coffee shop, we laid out a plan for the site and took if from there.

Did you have any key considerations in mind for the new site or how best to showcase your work as you developed it?

When I sat down with Guy to first discuss the site, I said that I had two main objectives. I wanted the new site to really show off the detail in my work, and for the experience to be playful and fun. I also highlighted an issue I was having displaying my spot illustrations. I do quite a number of spots for various magazines but for some reason I couldn’t find a decent solution to displaying them on the web. They just felt a little flat and would get lost on the page.

Guy suggested the circle, square, rectangle thumbnail grid for the homepage with a key line around image blocks and my own primary colour pallet to run throughout the site. These three things made such an enormous difference to how my work was displayed! It’s such a simple and effective solution. The various shaped thumbnails solve the issue of displaying my busier illustrations alongside my spot illustrations, while the key line helps to frame the each if the images — the colour pallete is a masterstroke because I realised that displaying the spot illustrations on a coloured background instantly makes them pop on each page.

How did it feel to be the client in this situation?

It was fun! I got a taste of what it’s like to be an art director which was nice! However, I’m a fish out of water when it comes to web development and the technical side of things. So I felt the best approach would be to just trust Guy. I love how he works, so I just gave him a couple of suggestions for things that I’d like from my site and then let him do his thing. I wanted him to have fun with it and for it to be something we could both be proud of.

You’ve had the opportunity to work with some great clients so far. What advice would you give to graduates hoping to start their career in the creative industries?

I was talking with a friend about this the other day, starting out is tough! Graduating university, especially with an arts degree, felt to me like being pushed off the edge of a cliff. All that hard work and stress leading up to the final degree show was suddenly over and I was completely on my own. Having no money, no job, nowhere to go on Monday is a scary position to find yourself in. However, if you organise yourself and you’re prepared to put the hours in, it’s possible to get where you want to be.

I found it helpful to set up a studio space for myself and to treat it like an office. I started out in the spare bedroom at my mum and dad’s. I got myself a desk and started a regimented routine of working nine to five. Even if I had nothing to do, I’d still sit at the desk. I’d spend the morning applying for internships, creative roles, anything remotely related to illustration. Then in the afternoon I’d do some personal work, making sure to document everything I made online — sharing it on Twitter, Instagram and Facebook.

One other thing I found really helpful was creating a free print/cv. I designed a double sided piece with an A3 illustration on the front and a beefed up cv on the back. To keep costs down, I kept the illustration as line work so I could get away with printing it using a nice paper stock and running it through my home printer. I then advertised them online as totally free — all you had to do was email me your address and I’d send one out in the post.

While I realise this wasn’t a money-spinning venture, it was an absolutely invaluable way of keeping me focussed and encouraged me to keep working. Over time, I received more and more requests for the print and began to notice that some of these were from companies like Wieden + Kennedy and Nike. Eventually, this lead to an internship with YCN where I met my current agent for the first time. I think sending out something tactile and physical, which can be kept, is always a nice way to be approached. Especially when you’re starting out and trying to make that all-important first impression!

You can see Dan’s new site and more of his work here.


Carpenters Wharf — Jack Renwick Studio

Jack Renwick Studio have created a new visual identity for Carpenters Wharf, a new canalside development on Fish Island, Hackney.

Drawing on the site’s rich industrial heritage, which for 50 years was home to luxury furnityyre maker A. Younger A. Younger, who shipped timber down the canals to use in their designs.

The brand mark cleverly combines a ‘C’ and a fish symbol with the use of a dovetail joint, with the wood and timber cladding referenced thought the graphic language.


Nothing but Fragments

Nothing but Fragments, a new project from designer Richard Grainger in collaboration with writer Glen Brown brings a kaleidoscope of flakes and shards into sharp focus revealing to us that the by-products of creativity are at times more prominent than intended, taking a detour of their own.

The text by Glen Brown is a direct result of a dialogue between imagery and words: fragments of memory tumbling across the pages, inviting us into an internal mindscape.

Tonight (Thursday) see’s the launch of the project down at Jaguar Shoes in Shoreditch where they’ll be a selection of limited editoon prints on sale, as well as the book and with the accompanyment of music from George Kamm, Andrew Watson and the Good Block DJs.

Check out the project, and more of Grainger’s work over on his site here:

And for more on tonight’s event, check the Facebook event here.


Modern Mag 2016

A favourite in the conference calendar, The Modern Magazine 2016 is almost upon us! Ahead of this day of editorial enjoyment we caught up with Jeremy Leslie (Mr MagCulture himself) and his able assistant  & conference producer Stephanie Hartman to find out whats in store…

Steph, can you explain the role of a producer in this context – and how you work alongside Jeremy to help make the conference happen?

My role is basically to ensure everyone’s in the right place at the right time. I book flights and hotels for our speakers, pull together presentations so they’re ready to roll on the day and organise a big, fun dinner after the conference for the magCulture team and speakers. I also keep press ticking over, gather magazines and other items for the goodie bags we dish out, make sure our attendees are fed and watered and work with the team at Central Saint Martins to ensure everything runs smoothly on the day. I’ve been working with Jeremy since the first Modern Magazine back in 2013 and it’s great to see things becoming more streamlined each year.

Jeremy, 4 years in and the conference feels like its in rude health – whats it like behind the scenes? Does it all come together easily, or are you more like the proverbial swan paddling franticly under the calm surface? ..Is it enjoyable?

Creatively, ModMag is in rude health, the finance side is a bit more shaky! It was originally a one-off but we kept it going and it gets easier year by year in most respects. We’ve got a small, strong team and we all know what we’re doing. Programming the day and inviting speakers is the fun part, topped only by the adrenaline buzz of the day itself. Without exception everyone involved – at the venue, the caterers, the sponsors, the speakers – are super-supportive and positive but I’d be lying if I said all aspects were fun. There’s a lot of behind the scenes swan paddling for sure. But it’s always worth it.

Steph, you’re responsible for the live elements happening alongside the conference talks, whats in store – any highlights? Any big reveals?

We’re bringing back the mag handling session we ran last year as it proved a great success. Attendees can sign up on the day and Cath Caldwell who’s the Stage 1 leader on the BA Graphic Design course will take them through some of the beautiful examples that can be found in the Central Saint Martins archive including a copy of Rolling Stone from 1970, LIFE from 1968 and Esquire from 1955.

We’re also working more closely with the Graphic Design students themselves this year. We’ll be setting them a live brief in a week or two and they’ll be tasked with creating a magazine centred on the conference. Kati Krause who spoke at last year’s event will be leading the team who’ll be interviewing delegates, photographing the day, illustrating and designing throughout. They’ll then take part in a masterclass back at magCulture HQ the following week where they’ll whip their magazine into shape. The final output will be printed by our sponsor Park and sent out to all of our delegates as a memento of the day. We’re pretty excited about it! We’re also getting the South London Makers to make us a giant ‘M’logo which will be perfect fodder for any Instagram account.

Jeremy, once again you’ve lined up an incredible mix of speakers – high profile, commercial, niche, indie, specialist etc – any talk you’re particularly looking forward to hearing this year?

You’re right, it’s all about the mix. We try to cover all types of magazines on the Journal all year, and I see/hear people talk regularly. The result is ModMag presents the best from all spheres. This year we have speakers representing publications as small and new as Real Review all the way up to the huge and influential New York Times Magazine. Add in the ever-growing multi channel Vice and The Gentlewoman’s Penny Martin and you get a sense of the range.

I’m looking forward to hearing them all; if I’m not excited by someone why invite them? But perhaps the most intriguing will be our first foray into mag history via Paul Gorman’s reflections on The Face. This hugely significant magazine has never really been acknowledged properly but Paul’s writing what should be the definitive book with the cooperation of founder Nick Logan.

Steph, can you sum up in a sentence or two why someone should attend this conference? – Especially first-timers.

It’s ultimately a massive celebration of people making great magazines and is designed to cater to those already in the industry as well as those hungry to find out more about the business. Come along if you’re thinking of starting a magazine, are a student keen to pick the brains of your mag heroes, or simply because you just love reading a good mag. We have delegates flying in from across the globe and some brilliant connections have been made over beers at the end of the day.

Jeremy, anything else going on you’d like to make folk aware of?

We always like to add something new each year and this time we have a little nostalgia via The Face, history via Private Eye, and the exciting live magazine project. The magCulture Shop will be present too, so bring your credit card! But before all that we’re putting together a popup magazine shop in Las Vegas in partnership with the Eye on Design team. It’s part of this years AIGA Conference (16-29 Oct). We’re dedicating most of our swan paddling hours to that!

All photographs from 2015 by Owen Richards.


Believe in Canada

Brand design agency Believe in® has announced the launch of a second studio in Canada, operating alongside the agency’s founding operation in Exeter, South West England. The company will operate as a single team collaborating across both studios, serving clients in Europe and North America. Founder and Creative Director Blair Thomson, along with Business Director Joanna Thomson, have opened the studio in Mono, Ontario, just north of Canada’s largest city, Toronto. 2016 marked 20 years in business for Believe in®, and this provided the impetus to expand their offering with a permanent base in Canada. Blair, a returning Canadian, believes that his homecoming represents an amazing opportunity for the business:

“I’m enormously proud of my Canadian heritage, and have deep admiration for those pioneering designers who established Canada as a centre for modernist design in the 1960s and 1970s. I believe that the time is right for Canada to reassert its position as a global design leader, and if I can play a small part in helping to make it happen, it would be a major achievement in my career, and my life.”

To celebrate the launch they created a special limited edition bottle of premium maple syrup, one of Canada’s most iconic exports. The name, Uproot, reflects the company’s arrival in Canada while also referencing the process of drawing water up through the Maple tree to create the sap from which the syrup is made. Uproot takes a Canadian icon and adds a European design sensibility. 100% pure Canadian maple syrup was packed by hand into heavyweight Italian glass bottles. Takeo Tassel, a subtly embossed light gray paper from Japan was supplied by UK paper specialist GF Smith to reinforce the feeling of luxury. The paper was digitally printed, die-cut and adhesive-backed by creative printers Kolor Skemes in South West England to create the finished labels. A truly international collaboration. 200 bottles have been created, each individually numbered. The die-cut diagonal line on the front marks the geographic connection between Exeter in South West England and Mono in Ontario, the company’s two studio locations.

“Our brand is very much a representation of who we are and how we see the world. Uproot embodies everything that we strive for in our work – simplicity, beauty and meaning. Hopefully our clients and friends will enjoy the packaging almost as much as they enjoy its contents!” – Blair

Follow them on twitter (if you like).


Gym Class Mag 15

The indie mag scene is in rude health these days, and nowhere more so than in the UK. This is thanks in part to, not only the brilliant mag makers (and their readers), but also the community and infrastructure that has sprung up supporting the scene. The triumvirate arguably championing the hardest are FFFriends MagCulture (Jeremy Leslie), Stack Magazines (Steve Watson), and Gym Class Mag (Steven Gregor).

Having worked at WIRED and Esquire (and more recently freelancing regularly at Observer and Guardian) Steven started making GC way back in 2009 (while working for a customer publisher) to creatively express himself – and more recently his love for the publishing scene. On the cusp of Issue 15 shipping Steven dropped some very big news about this issue, so we caught up with him, and his newly appointed Art-Director Alex Vissaridis to find out more…

Can you give us a summary of your ‘creative plaything’ Gym Class Mag and its evolution over the years?

Steven: I started Gym Class in 2009 as a small zine. It had the strapline: A Zine For The Guy Chosen Last. It was a personal counterpoint to mainstream men’s magazines. I’ve never wanted to be the strongest, or the richest, or to drive the fastest car, or have the hottest girlfriend. I found mainstream men’s mags hard to relate to. I still do. Gym Class, instead, was for the underdog or the geek.

Of course, over the years, it became something very different. Now Gym Class is about magazines and the people who make them.

You recently dropped the bombshell that the forthcoming Issue, number 15, will be the magazine’s last! Getting to that milestone is a huge achievement – have you done everything you hoped to with the mag?

Steven: Oh wow, I’ve done so much more with Gym Class than I ever hoped. And, at the same time, I feel I like I haven’t scratched the surface of what was possible.

It’s opened so many doors and enabled so many opportunities. It’s been super hard work — ‘the harder I work, the luckier I get’ rings true. I’ve learnt so much about editing a magazine, design and production, public speaking (eek!) and promotion, managing contributors, printing, distribution, sales, and all the un-sexy business stuff that goes into publishing an indie magazine.

As a through-and-through editorial man what’s next for you? Any exciting mag projects on the horizon? Will Gym Class live on in its digital forms?

Steven: I love magazines. The Gym Class Instagram, Twitter, and Tumblr feeds will continue. I’m planning a Gym Class blog, too. That said, any new digital endeavour will need to have a clear point of difference to what magCulture or Stack are doing.

But, print is my first love. So… I’ll be launching a new magazine in 2017. I know what it’ll be about and I have a title, but it’s too early in development to chat about publicly in any real detail. I’m super excited about it tho.

This is the first issue of/for which you’ve handed the art-direction reigns over to someone else (talented chap Alex Vissaridis) – why now, and how did it work out?

Steven: I’ve changed. I’m an art director by trade, but when it comes to making my own magazine, I really want to focus on the content and storytelling. Plus, I really want to collaborate. If I have one regret, it’s that I didn’t work with talented people like Alex sooner.

Alex, you’re also immersed in the world of indie publishing, tell us a bit about the projects you lead or are involved in?

Alex: When I was still fresh out of uni, I joined ShellsuitZombie, a collective of creative graduates that ran a print mag, a blog and a whole range of events. It was loads of fun and I got myself stuck into everything, but it was the zine stuff that appealed most, and I went from designing issue 4, to art directing issue 5, to doing a little bit of everything on issue 6.

More recently, I’ve been working with a friend on a new title called Castle, which will look at video games and the worlds they inhabit and affect through themed issues – starting with Health.

I presume you were already a fan of GCM – a publication as known for its variety of format as much for its passion and unique tone of voice – how was it for you climbing aboard such an established & beloved mag-institution?

Alex: I fell in love with indie mags when I was at uni, through my discovery of Little White Lies, and when I moved to London I went to every magazine event I could, so of course I very quickly became a fan of Gym Class. I was a little nervous when I showed Steven the first couple of spreads I’d worked on, but that enthusiasm and friendliness we all know and love from the pages of GC quickly gave me a boost of confidence and helped me produce better work.

What was it like picking up where Steven had left off with the design? Did you come into it with things you wanted to do, or were you executing Steven’s ideas?

Alex: I had a couple of ideas in my head before I got started, but what with this being the last issue, I didn’t want to impose myself too much on Steven’s vision. Saying that, it was a very collaborative process in the end, with each of us taking an article or two and working independently, then dipping in and out of each others’ files and having a play around. I’m really happy to have introduced some new illustrators, photographers and writers to the pages of Gym Class, and to have learned from someone with such a wealth of mag design experience.

Anything either of you are particularly proud of or excited about in this issue?

Steven: The cover feature, contributed by award winning Photo Director Rebecca McClelland, is epic. It’s a retrospective of Magnum photographer Chris Anderson’s editorial work (we focus on New York magazine, The New York Times Magazine, and Tank magazine in London). It’s proper. Rebecca aced it.

I’m also super proud of the beefed-up, super-fun back of book section. I hope peeps enjoy it.

Alex: I couldn’t stop nodding while I was reading Kate Hollowood’s piece about impostor syndrome, so I have to mention that; it has a lot in common conceptually with what we were doing most recently with ShellsuitZombie, plus Michael Driver smashed it out the park with his illustration. Jeremy Leslie’s piece about Japanese magazines is great too, and I was really happy that we were able to commission Japanese illustrator Hiroyuki Ishii for it.

Finally, Sean McGeady’s piece about fictional magazines in TV shows and films is a hilarious read.

Lastly, any words of wisdom or advice for those thinking of starting a magazine…

Steven: Preparation. Planning. Sort out the money side early. Be original… the indie magazine scene doesn’t need any more cookie cutter wannabes. Alex: Obviously make your own magazine in your own vision, but get as much advice as you can from those who’ve done it before. I was surprised at how many people were willing to grab a pint after work to discuss Castle and give us some pointers. People are lovely.

 Gym Class 15 will only be available in selected magazine shops in the UK (including the MagCulture shop) and in Barnes & Noble in the USA. Don’t forget to follow GCM on Instagram for more info – and colourful cover updates! Gym Class, we salute you. 

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yes… loving this

ed baptist on Studio Feixen

Nice article – its good to hear the experience of other designers who have started up. Myself and partner have just made it through our first year, i can see some parallels so comforting to get a solid view point

jess codrington on Ten Tips To Starting An Agency

Really nice work. Love the Nike campaign.

Peter Scott on Studio Feixen

Absolutely stunning work!

– Natalie

Natalie on Studio Feixen

A few highlights from a colleague here if you need any reminders:

Matt on ModMag16

Thanks for sharing this post about the Jan font. I love the typography of how the letters are formed. Also, it makes me happy to hear that numerous versions were created. As a designer, it is irritating when you want …

Design Cache on F37 Jan