Design inspiration from around the world.

What the FFF?

Founded in 2005 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 — 1549 posts
Graphic designer – Uetze, Germany

Jack Daly — 1185 posts
Graphic designer & Illustrator – Glasgow,…

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

Alex Nelson — 79 posts
Designer/coder – Leeds/London/Melbourne

Guy Moorhouse — 45 posts
Independent designer and technologist — London,…

Gil Cocker — 319 posts
Designer & Maker – London, UK

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

Gui Seiz — 135 posts
Graphic Designer – London, UK

Chris J
Chris Jackson — 71 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 — 25 posts
Graphic Designer – Ann Arbor, Michigan

Gabriela Salinas — 18 posts
Graphic designer – Monterrey, México.

Felicia Aurora Eriksson
Felicia Aurora Eriksson — 6 posts
Graphic Designer – Melbourne, Australia

Got something for us?

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.

Looking for something?

Categories rowsEverything Interviews Books Events Jobs


NASA Graphics Standards Manual

Jesse Reed and Hamish Smyth (who were behind last year’s NYCTA Graphics Standards Manual reissue) got in touch about their latest Kickstarter campaign to reissue the 1975 NASA Graphics Standards Manual.

Intended to be a celebration of the great work designed by Richard Danne and Bruce Blackburn in 1974, and famously rescinded in 1992. Each page of the manual will be scanned and printed using CYMK + 5 Pantone® spot colors and will be sealed in a static metallic shielding pouch.

We are huge fans of the project and hope that you’ll help get this campaign funded. Head over to Kickstarter and get involved!


Floating points

You’ve seen timelapse/stop-motion light painting before, but never like this! This experimental video created by Pablo Barquín, Junior Martínez, Nathan Grimes and Anna Diaz Ortuño is produced by a light-painting machine that, frame by frame, draws 3D animated figures in a real environment.

Full credits here.


Out The Box #8: Trapped in Suburbia

Trapped in Suburbia from Den Haag conceive and create visual identities, rooms, books, websites, posters, exhibitions, lectures and workshops, teach at universities in Russia, China or England and have accumalated an incredibly varied portfolio.

Next Friday on 4th September Trapped in Suburbia are coming to Hannover in Germany for the 8th Out The Box event. A series of talks that FFF has supported from the beginning.

If you are in the area, make sure you get a ticket!


Friday: 7pm Location: Edelstall, Schwarzer Bär 2, 30449 Hannover Tickets: 10 € Early Birds / 15 € Regular + incl. Aftershowparty


Advice to Sink in Slowly Kickstarter

It’s 4 years since we last featured Advice to Sink in Slowly, the brilliant project established by John Stanbury almost a decade ago. Since 2006 both recent graduates and established artists, designers and illustrators have designed almost 100 posters for the project, passing on advice in a creative way.

John is using Kickstarter to try and raise £6,000 to enable ATSIS to print, package and post 3,500 free posters to first year students across the UK this Autumn. If the goal is met, individual students, student societies and student unions will be able to request a poster(s) through their website from late September onwards.

There’s some great rewards on offer, so dig deep and help them out.


Sawdust: Kobe Bryant Typeface

Sawdust launched a fine looking branded typeface for NBA basketball player Kobe Bryant a few weeks back. We caught up with Sawdust’s Rob Gonzales to find out more about the project, who also sent us some exclusive work in progress images.

Hi Rob, can you tell us a bit about the brief?

We were approached by Nike / Jordan to develop a fully functioning display typeface for their signature NBA basketball player Kobe Bryant. The brief was to develop a bespoke typeface based on Kobe’s logo-mark to work alongside and expand on his existing branding.

This isn’t your first branded typeface. Which challenges did you face on this project?

This would become our second NBA brand typeface for Nike / Jordan following on from our previous type work for Kevin Durant.

In this instance the Kobe logo-mark contained no typographic cues as with the Kevin Durant branding, so this time we focused on the aesthetics and defining lines of the logo to develop the letterforms. We were very much inspired by the star-like negative space that is created in the central point of his logo-mark.

What makes a great branded typeface for a sports personality like Kobe?

Like with any bespoke typeface the idea was to have something that exists exclusively for the player and him as a brand. We worked closely with the designers at Nike to realise something that is unique, versatile and very much on brand for Kobe Bryant.

Cheers Rob! Make sure you guys check out the rest of their excellent work

Read more



Just as I was about to sign off this evening, I was tagged in an interesting message on Instagram and it’s left me bothered in a number of ways. It also raises some interesting questions, which is why I’ve decided to share it here.

The message I was tagged in was from Sarah Scott and posted to an image from a designer named Chris Cureton. Probably best to check that out before reading further.

Ok, now you’ve looked at that image, good. If you’ve been following FFF on social media over the last couple of weeks you might have thought ”Damn, that looks a lot like the new FFF logo!”. That’s certainly what I thought and I should know – I designed the new FFF logo.

So if,”that looks very, very like the new FormFiftyFive logo” was my first thought, my second thought was, ”Ok, so this guy has ripped us off”. I did stop for a second to ponder whether it could be coincidence, then decided all things considered It was too similar and I wasn’t willing to give Chris the benefit of the doubt.

By now I’d shown my wife and was considering something cheeky and mildly amusing to write on Chris’ Instagram page, when she asked “when did he post his?”. As it was brought to my attention this evening, I’d assumed Chris’ image was new, however checking the date, Chris posted his image 17 weeks ago. A good 15 weeks before we made ours public. Fuck.

So, in an instant the tables had turned. The person I’d basically just decided to call out for plagiarism, for creating a marque so close to the new FFF logo that I wasn’t willing to accept it could coincidence, created his first. I Felt a little bit sick for a moment, realising that Chris’ finger would now likely be pointed at me and how could I blame him given my own reaction moments earlier?

At this point, I started writing an email directly to Chris to assure him I hadn’t seen his marque until this evening, basically went over the chain of events/thoughts already mentioned in this post.

I then went on to explain that ours had been created completely independently and stressed that the obvious similarities were coincidental. I put my case to Chris threefold:

Firstly, Glenn Garriock and I had been working on the development of the new FormFiftyFive identity on and off for over a year, we finally reached our chosen logo after many, many iterations which gradually led to the chosen design. I offered to send those developments to Chris if it would help reassure him that ours had been created independently of his.

Next I have professional pride in what I do and the thought that a fellow designer believes I’ve blatantly ripped them off really, really bothers me.

Finally I explained that beyond the integrity aspect, FormFiftyFive has got almost 40k followers on Twitter – most of whom of whom are designers – the idea of intentionally aping another designers work and expecting not to be called out on it just wouldn’t be very smart. It’s almost guaranteed that someone will make the connection and It’s certainly not a risk I’d take, especially with FormFiftyFive, a project we set up eight years ago to celebrate the best in design.

Following that email, Chris replied and shared his thoughts. Understandably his goal is to maintain his own integrity, there are a lot of eyes on FormFiftyFive and he’s concerned that it could look like he copied the new FFF logo, to anyone unaware his had been created first. So even if he’s willing to accept it’s coincidence, he’d rather we not continue using it.

So to summarise, there’s no doubt the marques a very, very similar and if I’d seen Chris’ first, I’d never have decided to go with the design we have. However, I didn’t see Chris’ logo and we have gone with that design. This is where the interesting questions arise. At this point is it reasonable for Chris to ask us to discontinue use? I’m no expert in copyright law, so perhaps? And even if it isn’t, should we have some ethical obligation to remove a logo which we created independently and in good faith before we knew such a similar marque already existed?

Is it back to the drawing board? I’d be really interested to hear people’s thoughts on this subject.


Sennep Seeds

Seeds, is an evolving collection of experiments exploring coded-motion, interactivity and visual expression by Sennep. Included is the FFF masthead ‘Creatures’ Sennep created for us last year.

“We believe play and discovery is a crucial part of the design process. Being able to grow ideas that stem from creative-coding or pure aesthetics helps us to explore concepts from a different starting point than a typical design brief.

Individual seeds can exist as playful curiosities in their own right but also have the potential evolve into more developed projects and ultimately feed into client work.

The freedom to experiment without a pre-determined goal beyond simply ‘playing and learning’ has proven to be an extremely valuable part of our process and culture – it helps our work stay fresh and our skills sharp.”

Says Barry Bloor, Associate Director at Sennep about the project. We’re already looking forward to seeing what they come up with next.


Alphabetical: UK/Mexico 2015

Alphabetical have just launched their latest project: UK/Mexico 2015. This is a year-long festival of high-profile cultural, academic and trade projects, taking place across both nations and is the biggest ever cross-cultural celebration between Mexico and the UK.According to Bob Young, co-founder of Alphabetical, the biggest challenge was to create a truly bilingual concept that embraced the unification of the two nations. The British Council brief stated the need for a flexible identity that captured the spirit of both cultures and the activities of the festival itself, but fundamentally the design had to overcome the English/Spanish language barrier. They achieved this by creating a bespoke typeface that brings together elements of both nations; a British-inspired sans serif with a Mexican design based on traditional Mayan patterns. The whole identity system hangs off this typeface, giving the overall design a distinctive feel, and delivering a system that is flexible and robust enough to be used globally across all collateral. Effective use of layout, emotive but simple imagery and a bold colour palette pulls it all together, and brings the whole identity to life.


Craig Oldham: In Loving Memory Of Work, Pt2.

In Loving Memory Of Work by Craig Oldham presents a visual record of Britain’s longest ever industrial dispute: the 1984-85 UK miners’ strike. The book, published by Oldham’s own imprint (Unified Theory of Everything) marks the 30th anniversary of the miners’ return to work. Bringing together political graphics and cultural ephemera alongside first-hand testimonies, it’s a celebration of the creativity of the working class, as well as a re-appraisal of the collective aesthetic of one of most important social & political events in recent history. Moving, witty and at times shocking, In Loving Memory of Work explores the immediate effects of the strike, while vividly demonstrating its continuing cultural (and political) relevance.

Earlier in the week we took a close look at some of the arresting images featured in the book. For this second post we had a proper chat with mastermind Craig Oldham, to get answers to some of our questions…

FFF: Looking back on any historical work can feel a bit removed or diluted, like sifting through collections of punk flyers from the comfort of your sofa in 2015. You talk about the book as a reappraisal, and even a celebration, of the ’84-’85 For UK miners’ strike work thats been wilfully ignored since – how do you think the work in the book has been received this time around by new audiences in a context so removed to that of the mid 80’s when it was produced? 

CO: It’s difficult to say, as the book itself is still new. Books need time to settle and find their place; their success isn’t that it gets picked-up off the shelf and bought, it’s that it continues to be picked up by the person who owns it, passed around, shared and such, sometimes years afterwards. But the immediate feedback I’ve had about the book has been overwhelming, and to an extent this definition of success has been happening (I’ve had emails from people all over the country who’ve been bought a copy, or have been passed one, and felt compelled to get in touch). In that respect it’s been a success, and for me personally, I’m proud to have made it—which for me is a success.

Read more



Those living in France or the UK will instantly recognise this gorgeous “Chromatic porn food web series” by Michael Roulier and Philippe Lhomme. The duo, also know as Foodfilm, filmed these experiments with food for Carte Noire and I’d bet good money that they we’re a reference for the M&S ‘Adventures in Food’ ads that they have been directing ever since.


Craig Oldham: In Loving Memory Of Work, Pt1.

Politics and design have sometimes been uncomfortable bedfellows, but there are exceptions – and few more successful than protest graphics borne of political struggle. With all that is currently happening in the UK (where many of the FFF team are based) we decided it was high-time we take a proper look at ‘In Loving Memory Of Work‘, a book lovingly designed and published by Craig Oldham, Creative Director (and Founder, obviously) of ‘Office of Craig‘.

‘In Loving Memory Of Work’ focuses on the visual output from the minors strike of 1984-1985, a subject Craig is hugely passionate about. Today we bring you his unique insight into some of the most arresting and powerful images contained within the book. Later this week we’ll share Pt2, a comprehensive interview about the book and its design.

Craig explains…

Due to my strong personal convictions I wish to state that although we have hereafter singled-out a selection of images from this particular struggle for the purposes of examination from a design perspective, these images are ultimately born of their struggle and are an inseparable part of it.

It would be wrong to treat them as commodities; yet another addition to the graphic sweetie shop from bygone days. This struggle, from not only my personal point of view but also the opinion of many more, still continues, and the purpose of this article, and indeed the book, is to induce new levels of interest and action, culturally, socially, and politically.

The aim is to communicate however much as possible of the miners’ struggle in the hope that the power of their work will introduce the topic to those who may not be familiar, or refresh the minds those who are aware but have maybe relapsed, in order to continue the fight and to continue to raise awareness.

Read more

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Thanks for the post, it’s really helpful.

Tom on NASA Graphics Standards Manual

To my mind you should keep it, because they are not 100% similar. In this case all other brands, which have similar logos, for example circles, or brands like Airbnb, should stop using their brands. You have wrote about your …

Anatolijs Vjalihs on Logogate

A troublesome conundrum Jack. Having been through a similar exercise many moons ago with LongLunch, trying to get a logo for your not-for-profit venture with another bunch of creatives is a long road. Maybe consider how you might tackle this …

Brian Copeland on Logogate

A logo is not art*, it’s a signifier of a service or thing (person, place company etc). In current identity fashion simpler is better, increasing the probability that multiple designers will settle on similar images. If you want exclusive ownership, …

Tim Burley (@timburley) on Logogate

ayayay – the tricky world of building simple things

roonio on Logogate

Another one for the mixer –

Miiiiiiiiiiike on Logogate