FormFiftyFive

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
Glenn Garriock — 1540 posts
http://www.garriock.com
Graphic designer – Uetze, Germany

Jack
Jack Daly — 1184 posts
http://twitter.com/Jack_FFF
Graphic designer & Illustrator – Glasgow,…

Lois
Lois Daly — 45 posts
http://www.twitter.com/the_loi
Lois Daly – Graphic Designer, Glasgow

Alex
Alex Nelson — 79 posts
http://twitter.com/lexnels
Designer/coder – Leeds/London/Melbourne

Guy
Guy Moorhouse — 45 posts
http://futurefabric.co.uk
Independent designer and technologist — London,…

Gil
Gil Cocker — 319 posts
http://www.sansgil.com
Designer & Maker – London, UK

staynice
Barry van Dijck — 125 posts
http://www.staynice.nl
Designer & Illustrator – Breda, The Netherlands

Gui
Gui Seiz — 135 posts
http://www.seiz.co.uk
Graphic Designer – London, UK

Chris J
Chris Jackson — 71 posts
Graphic Designer – Leeds, UK

Tom Vining
Tom Vining — 12 posts
http://moreair.co
Graphic Designer – London, UK

Tommy Borgen
Tommy Borgen — 15 posts
http://www.uppercase.no
Graphic Designer – Oslo, Norway

Clinton Duncan — 24 posts
Creative director – Sydney, Australia

amandajones
Amanda Jones — 25 posts
http://www.amandajanejonesblog.com/
Graphic Designer – Ann Arbor, Michigan

Gabriela
Gabriela Salinas — 18 posts
http://gabrielasalinas.com/
Graphic designer – Monterrey, México.

Felicia Aurora Eriksson
Felicia Aurora Eriksson — 6 posts
http://feliciaaurora.com/
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.

submissions@formfiftyfive.com

Looking for something?

Categories rowsEverything Interviews Books Events Jobs

Luke Tonge

Luke Tonge

Graphic Designer – Birmingham, UK

https://twitter.com/luketonge


Posts by Luke Tonge:

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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.

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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.

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Nick Deakin: Sheffield Children’s Hospital

Deaks, aka, Nick Deakin is an independent designer, illustrator & lecturer from ‘the north’ who we last featured four years ago. He has recently produced some brilliant installations for Sheffield Children’s Hospital, so I caught up with him and Cat Powell, manager at Artfelt, The Children’s Hospital Charity (responsible for commissioning the work) to find out more…

Nick, since we last featured you way back in 2011 you’ve been a very busy chap! (accumulating Instagram followers at an alarming rate, working in different cities, taking up teaching, and broadening your work into more design & typography) Update us..?

ND: I’ve been working hard – head down!

Through various projects I’ve been able to broaden my output, working a lot more with type and simple graphics, rather than analogue illustration, something which I’ve really enjoyed. Exploring new language is always fun and I will always be somebody who will try new things.

I have recently started lecturing in Graphic Design at Huddersfield University, this has been great for me, and the contact with students has really engaged and re-energised me with my practice as well as informing theirs.

As for instagram I love it. When I began using it I think it only had 500,000 users world wide, and all I’d do was take close up shots of corners of the train I was commuting on. Now it’s become so huge, and for me this passive document of my life, as well as being able to keep tabs on other folk’s business.

Cat, for those of our readers who don’t know about you or what you do, or what Artfelt is, fill us in…

CP: Artfelt is the arts programme at Sheffield Children’s Hospital, entirely funded by The Children’s Hospital Charity. We transform the hospital’s walls and spaces with bright art, helping children recover in an environment tailored to them. The programme also runs creative workshops for youngsters to provide distraction during anxious moments – such as before an operation, and to break up long stays on the wards.

Artfelt is such a brilliant idea, are there any plans to franchise or expand the model? Does it happen in other hospitals? How can our community get involved or support?

CP: We’d love to expand and offer our expertise to other hospitals, however we’re pretty busy with the one we’ve got at the moment! The hospital is undergoing a major expansion, which means Artfelt is undertaking some pretty large commissions, this is great as it means art has been considered right from the beginning and allows us the opportunity to make a big impact. Read more



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FS Silas

Blair at Believe in® has been in touch to let us know about their latest campaign for boutique type foundry Fontsmith. FS Silas has been created in both Sans Serif and Slab Serif forms, and each version is available in 5 weights with accompanying italics.

Fontsmith’s design director Phil Garnham:

“We stuck with the angular theme of the sans by drawing angled slab serifs, as opposed to the square serifs that slab fonts usually have. That created an inner dynamism in words and sentences on the page, and a very distinctive, crafted character, like a Victorian soul in a contemporary body.”

The central campaign idea was inspired by classic espionage, providing plenty of inspiration and intrigue for the materials to work with. Believe in’s creative director Blair Thomson was drawn to classic type specimens from the 50s and 60s, but wanted to inject depth and intrigue, to match the typeface’s personality.

At the heart of the campaign sits a beautiful printed type specimen. Using different paper stocks and page sizes printed only in black ink with white foil on the covers, it references dossiers and secret files as well as the classic type specimens. Content was drawn from numerous sources, providing a glimpse into a clandestine world, using codes, ciphers, intercepted radio transmissions, stories and secret service terminology.

Blair Thomson:

“To succeed, the type specimen needed to strike a delicate balance, as we wanted it to feel honest without revealing its secrets. The document is utilitarian, with content that demonstrates the typeface’s capabilities. But we also wanted to entertain and reward readers for their time. And we didn’t want it to feel like a parody.”

To accompany the specimen, Believe in worked with creative collective The Space Between, who made a series of short and intriguing films using only the typeface itself, each one revealed in sequence on social media in advance of the launch date.

As a special introductory offer, customers who buy either of the FS Silas families (Sans or Slab) will be offered the chance to purchase its sibling for half price.



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SPIN 360º

Spin: 360º is a portrait of one of London’s leading design studios. It’s a lovingly designed and beautifully produced 520pp monograph that looks in detail at every aspect of Spin’s work in identity, print, moving image, retail, digital and environmental graphics, as well as the studio’s self-directed activities in publishing, curating and collecting.

On the release of this latest Unit Editions title we caught up with Tony Brook, unique in his position as subject of much of this title (along with SPIN co-founder Patricia Finegan) and creative force behind its design and production.

A book like this is clearly a mammoth undertaking – can you just explain a bit about how you came to the decision to make this book now?

We started to discuss a possible Spin book for our 20th birthday (2012) but then the call came from the Alliance Graphique Internationale and organising AGI London came along and, unsurprisingly, it was put on the back burner. Adrian and I had been talking about the possibility of making contemporary monographs for a good while, books on practising designers seem to be something conventional publishers aren’t interested in. We both like the idea of creating a fuller 3-Dimensional portrait that allows for greater insights than the work alone. There are so many other stories and perspectives that inform the work that are really interesting and well worth expanding on. When we started think about potential candidates again (after the AGI Congress was put to bed) we realised that we would need a guinea pig to work with and, after much discussion, we agreed that a Spin monograph was a good choice. It would offer us the opportunity to explore this idea fully and try out some things.

Did it all go roughly according to plan?

The course of true love never runs completely smoothly! We pretty much designed it twice, the first attempt was smaller and more compact, but one of my great bugbears with other designers books is not being able to see the work at a reasonable size. I realised that I had made a similar mistake! Not a good moment.

Honesty is something that has been mentioned in regards to this project – your willingness to be transparent – So honestly, knowing what you know now, would you do it all again? would you approach it differently? any lingering frustrations?

The devil on my left shoulder is shouting in my ear ‘are you crazy’ as I write this but I would. I can’t deny it has been a lot of pain, but I can’t help feeling if it isn’t hurting we are doing something wrong. We ended up shooting 99% of the work specifically for the book, why did we do that? because we felt we had to. The writing took forever, the interviews were a huge task. Would we do anything differently? Not really, it’s been a buzz doing it, sounds perverse but although there’s a huge sense of relief I miss it! The biggest frustration was dealing with the vast amount of work that the studio has created over the course of 20 odd years was quite a job. The mis-labelling of files has to be seen to be believed (and I’m as guilty as anyone), for example. the Haunch of Venison files were also named HOV, HofV, HV, Haunch or simply 01.JPG, 02.TIFF etc. multiply that by the million. My left eye starts to twitch nervously when I think about it. The main frustration was finding low res files but not being able to find hi-res versions. This drove me to distraction.

Like most big jobs I imagine this was a team effort – how many people touched the job, and who did what?

Everyone in the studio worked on the book at one stage or another, it was a real team effort that pushed all of us to the limit! We are still talking which is good. Claudia Klat and I were the main creative driving force behind the book, but Linne Jenkin and Rachel Dalton sweated blood over it and really added so much to the book. Callin Mackintosh and Jack Grafton helped out when they could but were mainly occupied with paying work! Sam Stevenson looked after the production of the book, and the printing is exceptional, Adrian and Isabel Andrews did sterling work on the editorial side of things and Anna Souter helped hugely keeping everyone informed on social media, an increasingly important aspect of what we do, and with proof reading.

I loved what you said about your intention to make more as a snapshot of a living breathing studio than a tombstone – and inevitably SPIN will continue to produce great work in the coming years – so can you imagine ever wanting to do a volume 2?

I’d really like to think so, perhaps in another 5 or 10 years…

You feature 80 projects from your 20 years, so that hit-rate of 4 book-worthy pieces per year is enviable – what was the criteria for deciding what should make the cut?

This was very, very tough. A lot of good work didn’t make it for no reason other than the book was full!

You said SPIN 360 is template for what a contemporary monograph could be, with yourselves as the first subject. Obviously you’ve created some stunning monographs to date, so do you think this revised ‘template’ is successful and will be used for future UE monographs?

The thinking behind SPIN 360 is already feeding it way into the forthcoming books, my hope is that the people who buy the book will enjoy this approach.

Our hope is we breathe new life into the contemporary monograph as a format.

_

The first 1000 copies of Spin: 360° come with a limited edition pack of six silk-screened A5 cards (Colorplan Ebony 350gsm) in a matching envelope, and a set of six button badges all designed by Spin. Some technical specs… Hardback with dust jacket. Cover foil blocked (front, spine and back). Printed CMYK + two Pantone colours (2028U and 2334U). Stock: 120gsm Munken Lynx. 203mm x 258mm. 520 pages. Price: £85 (RRP).

Order here  



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Shotopop

Its been 6 busy years since we last featured ‘visual zealots’ Shotopop, and in that time their London studio has doubled in size and done more great work than most of us could hope to do in a lifetime. You might recognise them from their stunning cover illustrations for the Ride Journal. I had the immense pleasure of sharing a stage with Casper recently and I can confirm that he is a very rad guy, and Shotopop are producing some really beautiful things with heaps of passion and skill. I love this animation of their site header.



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New York Times: The Walking Issue

Here at FFF we’re big magazines fans, so when we recently had the opportunity to speak to the Design Director of no less than the acclaimed award-winning The New York Times Magazine, Gail Bichler, obviously we got stuck right in. Gail is genuinely one of the loveliest people working in the industry, not to mention talented, and like any good leader she has surrounded herself with exceptionally brilliant people to help her create one of the most exciting and jaw-dropping weekly magazines. You might recall her most recent international signing, Art Director Matt Willey, is an old friend of FFF and outrageously talented gent. The latest issue of the NYT Magazine is a ‘special issue’ that Matt took the lead in designing – so we focussed on that issue – while exploring some of the wider issues around leading such a renowned title…

FFF: Single-topic issues can be quite tricky, does the NYT magazine have a history of doing them? ‘Walking New York’ seems like a very rich vein to mine, and the JR cover is brilliant expansion of this, how does a collaboration like that come about and how tricky is it to pull off? 

GB: Yes, the magazine does about 14 single topic issues per year. As you say, they can be tricky to pull off, but we really enjoy working on them. In regular weeks, each feature article in the magazine is designed by a different member of our team in response to the content and visuals of that story. We pay attention to how the pieces fit together in terms of pacing and imagery to make sure there is visual variety and a good flow, and some common elements like typefaces and grid ensure that the pieces work together.  For our special issues, we work in an entirely different way. One lead designer heads up the issue, Matt Willey in the case of Walking New York, and comes up with a visual language to be used throughout the well that serves as the identity of the issue. It’s a more systematic, cohesive approach to the design of the magazine. We use new fonts, often alter the grid and commission special artwork for these issues, so they are great opportunities for our team.

The idea to do a Walking New York Issue came from our editor in chief’s, Jake Silverstein:

“We wanted to write a love letter to our hometown, and the thing we all love to do in N.Y.C. is walk. Everywhere. That’s a unique quality, at least among American cities. New York is the only American city with a dominant pedestrian culture, so we thought that telling walking stories would capture the city’s spirit.”

As to how JR got involved, our director of photography, Kathy Ryan, had been looking for a way to collaborate with him for some time and thought he could do something special for our New York Issue. Then JR came in for a brainstorming session with Jake, some of the editors involved in the issue and me on March 6.  The cover was shot on April 11, so there were about four weeks of preparation and planning. Kathy and Christine Walsh (one of our photo editors) did an incredible amount of legwork to figure out the logistics of making the cover, including scouting the pasting locations, finding possible cover subjects, securing the city permits, chartering a helicopter and figuring out the precise timing of when the lighting on plaza would be conducive to getting our cover shot.

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DR.ME

DR.ME is a creative studio based in Manchester comprised of Ryan Doyle (DR) & Mark Edwards (ME). They work in a diverse range of media including some great photo-collage and video-based work for both commercial clients and exhibitions, including: Bloomberg Businessweek, Urban Outfitters, Red Bull, Sony, Universal Music and Intern Magazine.

They’re currently creating a collage a day for 365 days straight, the collages will be no bigger than 240mm x 165mm, and are available to purchase – those not sold will go into an exhibition at the end of the year.

Keep up to speed with what they’re up to on twitter.






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Marta Gawin

Marta Gawin is a Polish multidisciplinary graphic designer with some great experimental visual identity, sign system, poster, information, exhibition and editorial design work. Since her MA in Graphic Design (Academy of Fine Arts, Katowice) in 2011, she has been working as a freelancer for cultural institutions and commercial organisations. 



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QVED 2015

International Editorial Design Conference QVED 2015 is entering its third year and takes place in Munich from 26-28 February. The annual event brings together designers, publishers, editors and journalists from across the globe, and acts as a platform for sharing and discussing ideas and current work. This year’s line up includes: art director, designer and consultant Roger Black; Ricarda Messner and Michelle Phillips of Flanueur Magazine; award-winning art director, critic, author and editor Steven Heller; founding editor of Anorak Magazine Cathy Olmedillas; creative director of quarterly food journal Lucky Peach Walter Green; Sven Ehmann creative director of Gestalten plus many more.

This year’s conference boasts three carefully curated sessions: photography for magazines, illustration and infographics, each hosted by a special guest speaker. A particular focus will also be drawn on City Magazines with QVED co-curator and publisher of award-winning Paperjam, Mike Koedinger hosting the strand which will explore how city focussed publications shape future urban living. QVED is a platform not only for the makers of magazines, but for designers, journalists, editors and publishers to share and discuss the work they are creating. With an international lineup mirrored by an international audience, the conference brings together the best editorial minds from across the globe. QVED is co-curated and hosted by Boris Kochan, Mike Koedinger, Jeremy Leslie and Horst Moser. The conference takes place at Alte Kongresshalle in Munich. Get your Tickets!



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Review: Shaughnessy x Brook

In this second of our year end reviews we’re looking again at publishing, this time focussing on books. Who better to speak to on the subject than the duo responsible for FFF-favourite Unit Editions – Adrian Shaughnessy and Tony Brook. With Manuals 2 [Unit 18] still flying off the virtual shelves we hear their individual reflections, highlights & predictions…

Tell us what it is you do, and why you do it..

AS/ I’m a graphic designer, writer and senior tutor in Visual Communication at RCA, and as one of the co-founders of Unit Editions, I’m also a publisher –but even after five years of Unit, it still sounds odd to write that. Me a publisher? Well, yes, actually. As for why I do what I do? Paranoia, fear and self-doubt.

TB/ I’m a designer at Spin and a (relatively recent) publisher with Unit Editions, I also collect graphic design and have curated a couple of exhibitions. I didn’t have any real choice about the design aspect, it is a vocation; I’m lucky enough to love what I do. The other three facets have happily fallen out of the first.

Can you both give us a couple of personal highlights from the year?

AS/ I’m not very good at looking back. I can barely remember what I did last week, far less think about what was happening in January. In my view, you only look back when you don’t have much to look forward to. There’s never been a time in my life when I haven’t had an immediate future stacked with deadlines, objectives and targets. When I’m in the old folks home with my hearing aid and pacemaker, I might start to look back. Having said that, I’d say that the success of our two Manuals books has been a highlight. Two weeks in Japan was also pretty good. Curating a show of 50 years of graphic design at the RCA was fun. But other than that it has been relentless work, work, and more work.

TB/ It’s been quite a year. I got to visit New Zealand through an invitation to talk at Semi-Permanent. It was a fabulous experience: I got to hang out with the legend that is Dean Poole from Alt group. Work-wise, seeing Manuals 2 in print has been incredibly satisfying, and launching the Spin website was a real highlight. Meeting up with Lance Wyman and Paula Scher was the cherry on top.

You collaborate on Unit Editions, how did that all come about?

AS/ I’d reached a point where I was fed up working with mainstream publishers and was beginning to think about starting my own imprint. I went to the pub with Tony and he said he was also contemplating starting a publishing venture. He had already done some self-publishing so he was ahead of me. But it made lots of sense that we combine our skills and use the knowledge and experience we’d both accumulated as studio owners over many years to start Unit.

TB/ As Adrian mentioned we had a fortuitous meeting where, after the shortest time, we realised that our ambitions were very similar and that our mutual interest and skill sets meant that we could make something work. There was a giant Unit Editions-shaped whole for books that balanced out (hopefully) beautiful design with rich visual and written content.

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Review: magCulture x Stack

It’s been another bumper year for editorial design and independent publishing – plenty of new titles hit the shelves (and blogs) in 2014 – and many events and initiatives launched or returned – all pointing towards an industry in rude health. We caught up with Steve Watson and Jeremy Leslie, two of the industry figures most passionate about print, to get their reflections, highlights & predictions…

Tell us what it is you do, and why you do it..

SW/ I send out a different independent magazine every month to a couple of thousand subscribers around the world. And I do it because I’m in love with the ideas and energy in the best independent magazines, and I know that there are a lot more people out there who would love these magazines if they could only discover them.

JL/ I design, write and publish. Most of my time is spent designing, working with clients on their magazines, apps and websites at the magCulture studio. Alongside this I promote creative editorial design via the magCulture website, conferences and other events. And we publish a few things – we just launched our first magazine Fiera in collaboration with Katie Tregidden. I do it because I find editorial design fascinating. Design in an editorial context is not surface, it is content.

Can you each give us a couple of personal highlights from the year?

SW/ Jeremy’s Modern Magazine Conference was really great – it’s fantastic that he’s able to bring magazine makers from all over the world to London for one big get together. And at the opposite end of the conference spectrum, I also had a fantastic time at Indiecon in Hamburg. It was the first time they’d held the event and it was a genuinely indie production – a group of young friends doing something because they really care about it.

JL/ Things to remember include working with Douglas Coupland on Kitten Clone; taking Printout to Bristol; eating at Noma; putting together a radio show for Pick Me Up radio; discovering Limewood with Lesley; collaborating with Vitsoe on the 620 Reading Room; helping design a live stage show to mark Maison Moderne’s 20th anniversary. And moving from home into the new studio space.

You guys collaborate on Printout – how did that come about?

SW/ Way back when I first started working for The Church of London I went from having one day a week for Stack, to having two days a week. I was really keen to experiment with magazine events, and I remember speaking to Jeremy at The Church of London offices and realising that we’d both been having similar ideas. We realised that this wasn’t going to be either a Stack or a magCulture thing, so we knocked some ideas for names back and forth and a few weeks later we were running our first ever Printout.

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Chatter

I’m a wolves fan and this has always bugged me. The hexagon gets in the way of the attitude the ‘wolf’ could have if it didn’t have to compete with such a strong shape and thick outer line… pedantic maybe …

Roberto D'Andria on Grafiky

Wonderful!

Jared G on Nick Deakin: Sheffield Children’s Hospital

Looks nice. Reminds me of the Church of London’s one-off ‘Good Times’ newspaper project.

Matt on The Five to Nine

Good. But not as good as the first.

Michael Thomason on Axis Animation – Gab Talk

Its eerly similar to the simbol on the artifact in quartermass and the pit

André Cascais on The International Flag of Planet Earth

Link is down?

whywoody on Studio Playlist 02 – Anagrama

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