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 — 1565 posts
http://www.garriock.com
Graphic designer – Uetze, Germany

Jack
Jack Daly — 1190 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 — 80 posts
http://twitter.com/lexnels
Designer/coder – Leeds/London/Melbourne

Guy
Guy Moorhouse — 46 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 — 26 posts
http://www.amandajanejonesblog.com/
Graphic Designer – Ann Arbor, Michigan

Gabriela
Gabriela Salinas — 20 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:

next

Design Manchester 15

This October sees the triumphant return of Manchester’s creative festival Design Manchester, celebrating creativity, collaboration and inclusivity in the worlds of art, design, illustration, film, animation and photography. Now entering its third year, the ever-growing festival has become a staple of the city’s diverse and thriving cultural calendar, whilst also functioning as a highlight for creatives across the UK. With a theme of Know How, events for 2015 span the realms of Design How, Design Now, Film How, Music How and more, which together build a rich programme of talks, workshops, exhibitions, screenings, debates and a full weekend celebrating the love of print.

There will be a series of exclusive talks, including Design How, which welcomes key figures in the design industry including independent creative agency Territory, global design firm IDEO, London-based design studio Hudson-Powell, Brand & Motion agency Territory Studio, Director of design at the Government Digital Service Ben Terrett and Clive Grinyer, User Experience Director at Barclays.

Music How is an evening in conversation with some of Manchester’s musical legends, New Order’s Stephen Morris will discuss his illustrious career spanning over 30 years, following the release of New Order’s new album Music Complete. He’ll be joined by a leading light of the UK live industry, Jon Drape, and writer, journalist, DJ and creative producer, Luke Bainbridge, who will talk about their work together organising the creative triumph that is Festival No 6.

Other highlights include Design Now which features Parisian illustrator Parisian Malika Favre, graphic design studio Hudson Powell and co-founder of Lemon Jelly and Airside Fred Deakin.

As a showcase of Print Now, Manchester Print Festival, supported G . F Smith, will take over the People’s History Museum across one weekend with over 50 stalls selling independent artwork, along with free hands-on workshops in letterpress, screen printing, origami, badge making, paper flower creations, doodle wall and collage work.

Last year’s festival boasted 19 sold out events, 1099 workshop attendees and over 20,000 visitors, as well as a total of 20 original works and highlights including speakers Adrian Shaughnessy, Rejane Dal Bello, Supermundane’s Rob Lowe, Ross Phillips, and Michael C Place of Build, plus an adidas Spezial exhibition showcasing 800 pairs of collectors’ footwear, and a one-day installation of Helen Storey’s Dress of Glass and Flame.

Design Manchester 15 is supported by Arts Council England, the Manchester School of Art, part of Manchester Metropolitan University, and Manchester City Council.

For further information, announcements, updates and ticket information please visit designmcr.com

@designmcr / facebook.com/designmanchester #DesignMCR15



next

New Laurence King titles

Now and again books come across our path here at FFF that we just have to share with you. Since the rise of the graphic design blog, and aggregator sites, the need for ‘overview’ design books has decreased somewhat – which makes coming across good ones all the more exciting. In such books the quality of the content is often reflective of the curator, and in these two instances from Laurence King that quality shines through.

Graphic Design Visionaries is by Caroline Roberts, founder of Grafik magazine, she knows a thing or two about design history having written several books, and in this latest 312 page slab she looks at 75 of the world’s most influential designers, their fascinating personal stories and significant works that have shaped the field.

Arranged in chronological order, the book shows the development of design, from early innovators such as Edward McKnight Kauffer and Alexey Brodovitch to key figures of mid-century Swiss Design and corporate American branding. The book profiles masters of typography, such as Wim Crouwel; visionary magazine designers, such as Leo Lionni and Cipe Pineles; designers who influenced the world of film, such as Saul Bass and Robert Brownjohn; and the creators of iconic poster work, such as Armin Hofmann, Rogério Duarte and Yusaku Kamekura.

Combining insightful text and key visual examples, this is a dynamic and richly illustrated guide to the individuals whose vision has defined the world of graphic design. If you are looking to brush up on your design history, or inspire someone to discover it for themselves, this is a great place to start.

Type: New Perspectives in Typography is edited by the hugely talented leading typographers Henrik Kubel and Scott Williams (better known as A2/SW/HK) and is an A to Z showcase of more than 100 carefully selected contemporary designers, including the best examples of their current work, and also features an introduction by Rick Poynor. These are typographers at the very top of their game, so when they curate, we take note.

Featured designers include David Pearson, Philippe Apeloig and Anthony Burrill, among others, alongside essays by acclaimed design writers Emily King, Paul Shaw, Monika Parrinder and Colin Davies that explore the past and future of type design. This book will encourage and inspire the next generation of designers as well as provide a sourcebook for seasoned designers and educators. It’s a fantastic looking book full of inspiring work.



next

Rob Clarke

Hard to believe we’ve never before shared the incredible work of Rob Clarke! Rob is a prolific designer of type and lettering, just a quick scroll through his site gives you an indication of his rate of output, and his site has just been updated with a stack of new projects. He’s responsible for the curves of some of the world’s largest and most recognisble brands including Air Asia, Dulux, Sainsbury’s, Tesco, Reckitt Benckiser, Barclays and Cable & Wireless.



next

Joseph Alessio

Joseph Alessio is a typographic illustrator and animator— who also art directs and writes, doing double-duty as a copywriter for projects, and occasionally write on type, lettering & design for sites like Smashing MagazineStemmings and Tuts+. His work is playful and varied, much of it animated as seen on his site. He’s also a nice guy, so you should definitely follow him on Instagram if you’re not already.



next

I Wonder What it’s Like to be Dyslexic

It’s perhaps a reflection of the success of funding model/platform Kickstarter that a few of our recent posts have been crowdfunded. Sam Barclay is back with the second edition of his book “I Wonder What it’s Like to be Dyslexic” that aims to provide the reader with a design-lead experience of what it feels like to be dyslexic with typography at the forefront. I caught up with Sam to find out a bit more about the project and this new revised edition of the book…

Read more



next

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.



next

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



next

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



next

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



next

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.



next

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  



next

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.



next

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.

Read more



next

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.




Supported by

Recent features

View all features

Topics

Recent Jobs

+ Add a job to this list

Senior Project Manager

MultiAdaptor, London, UK
out

Graphic Design Teacher

Shillington college, London
out

Senior Brand & Design Project Manager

mavis, London
out

Web Developer

Boxed Red, Knutsford
out

Middleweight Creative

MC2, Manchester
out

Graphic Designer

Side by Side , Sheffield, S Yorks.
out

Packaging Designer

SteelSeries, Chicago, USA
out

Chatter

There isn’t going to be an EPL sponsor after this season i think, part of the rebrand.

James on EPL – New Identity

I think it looks really cool!

Agree with Peteman, think the shirt badge looks a bit ‘weekend charity match’.

Think it’ll definitely appeal to the youth!

Dave Mullen Jnr on EPL – New Identity

Peteman – Isn’t this a season (or the future?) without an outside sponsor, but rather a host of sponsors? We won’t be seeing a return of a ‘Barclay’s Premier League’ for a long time I do believe.

Ben on EPL – New Identity

Loving the new EPL marque and the other elements shown above. Not too sure about the shirt badge. I’m also wondering how the league sponsors will be incorporated into it?

peteman on EPL – New Identity

The designer is the artist of today, not because he is a genius but because he works in such a way as to reeastablish contact between art and the public, because he has the humility and ability to respond to …

Kalem on Win 2 tickets to Typo Berlin 2016

You can use design for grace or you can use it to communicate.

trafficintheskyyy on Win 2 tickets to Typo Berlin 2016

Playlist