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 — 1483 posts
Graphic designer – Uetze, Germany

Jack Daly — 1173 posts
Graphic designer & Illustrator – Glasgow,…

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

Alex Nelson — 67 posts
Designer/coder – Leeds/London/Melbourne

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

Gil Cocker — 318 posts
Designer & Maker – London, UK

Barry van Dijck — 124 posts
Designer & Illustrator – Breda, The Netherlands

Gui Seiz — 135 posts
Graphic Designer – London, UK

Chris J
Chris Jackson — 69 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 — 24 posts
Graphic Designer – Ann Arbor, Michigan

Gabriela Salinas — 15 posts
Graphic designer – Monterrey, México.

Felicia Aurora Eriksson
Felicia Aurora Eriksson — 4 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?

Teaser trailer

Categories rowsEverything Interviews Books Events Jobs



FFFootball — Cog World Cup

Whether you love it or loathe it, you can’t avoid the FIFA World Cup coming back every fourth summer. London agency Cog Design have chosen to embrace the occasion by inviting clients, peers and other members of the design community to join in their 2014 sweepstake (including us).

“We know that the World Cup isn’t a big occasion for many of our clients, so our challenge was to do something creative enough to engage the non-football fans amongst them as much as the ones that would be following the competition anyway.”

Rather than simply allocating their entrants to a nation and forgetting all about it until the final in July, Cog have created their own competition to run in parallel with the main event. In ‘Cog’s sweepstake the organisations involved are referred to as ‘teams’ in themselves, and an overarching early-twentieth-century aesthetic has been created to give the competition it’s own look and feel.

A cursory glance at the in-game Twitter commentary or fixtures & results posted on the , national teams appear to have been disregarded entirely – a closer look at the series of short, black & white films on Cog’s account reveal the draw and team allocation ‘as it happened’ – selecting numbered balls from a velvet bag and chalking-up the pairings on to a board – all to a catchy, Brazilian soundtrack.

32 ‘collectable captain cards’ were introduced during the draw to form the key visual hook of the campaign. Reminiscent of early cigarette cards, they include all of the period features you’d expect – hand painted kits, graduated background tints and, of course, a de-saturated mug-shot of the ‘player’. Some are even embellished with outrageous hairstyles, beards and ‘taches, based on infamous styles of players past and present. A ‘reverse-side’ to the cards also feature on the , profiling the entrant in a light-hearted, football-related manner. Cog have also used ‘referee cards’ throughout the campaign, as a way of introducing their team members to the project.

“We ran a similar sweepstake for the 2010 World Cup, and it proved to be very popular. We’ve really expanded on what we did four-years ago, the introduction of lots of hand-rendered elements have added a real charm to the project, and the period-style does a great job of making it all feel different to the coverage of the ‘real’ competition that will saturate the market elsewhere.”

Additional to the prize for overall winner, a spinkling of others are keeping everyone interested – there’s a spot the ball competition, best goal celebration and a prize for the most ‘supporters’ who can join by clicking a button on the appropriate profile page. Cog have even started to allocate the knocked-out ‘captains’ to the ones that are still in the competition, keen to keep as many players as possible still in the running.



Ministry is a design and art direction studio based in Monterrey, Mexico. They produce bold design that functions cross-platform and focuses on product design, printed matter and digital design in close collaboration with people and organizations from around the world. The studio’s culture is firmly rooted in the rich tradition of graphic design and honors it by promoting this discipline into our local context.

Hello, can you start by tell us about the studio and the team behind Ministry?

Ministry is a design studio that works on branding, editorial, print and digital design projects that was founded in October of 2011. The studio’s core team is made up of its three partners André Mooij who is the Creative Director, Adrián García Chereti the Executive Director and José Antonio Domínguez the Art Director, accompanied by our designer Betty Ramones, our seasonal interns and a range of collaborators who work within other disciplines like industrial and interior design and web development.

What was the motivation on starting your studio?

The main motivation behind the founding of the studio was the simple desire of becoming independent, the three of us aren’t really that good at working in other companies, we don’t mean it in like a punk-anarchist way or anything, it’s more of a creative freedom kind of thing, we feel we work better when our core-philosophy is present in our creative process rather than adopting a different methodology one could find in other design studios.

Where do you find inspiration? What influences your work?

While the three of us have things in common, we do differ a bit when it comes to our influences, José is quite inspired by illustrative typography, documentary photography, minimalist grids, progressive rock and jazz, Adrián by video games, alternative music and the feminine aesthetic (however weird that might sound) and André is influenced by political movements, electronic music, dark humor, modernism and Japanese culture. So really, when it comes down to it, it’s a whole pool of influences.

Read more


Coming Soon

Soon is a Belgian studio, based in Wetteren, who specialise in visual identities. What really stands out about their work is the focus put into hand-crafting each project. Whether chalk-illustrating a wall, hand-building a typographic model of GENT city or creating enormous infographics from thread (only viewable from thirty meters above), virtually all of Soon’s work has an impressive foundation in the hand-made.

To view more about each project check out Soon’s Behance.


Gerry Judah: Goodwood Sculptures

Calcutta-born, London-based artist and designer Gerry Judah has been delighting visitors to the Goodwood Festival of Speed with iconic and gravity-defying sculptures since 1997. Every year I look forward to seeing what he’s produced, and this around it’s a 26 metre high, 45 metre long, 160-tonne parabola steel arch celebrating 120 years of Mercedez Benz motorsport. The sculpture features two speedsters travelling in opposite directions. Engineering by Capita, production by Littlehampton Welding. Check out the making of video then look back at previous years centrepieces, all available to view on the site here.


World’s Largest Poster

Swedish agency SNASK have a series of big claims under their belts, such as “creating design as hot as Mick Jagger’s ass in the 60′s” and making their clients feel like “Boom!”Proof.

The crew from Stockholm now have a new claim, with founder Fredrik Öst telling us “We just produced the biggest poster in the world”. Without being able to verify the record ourselves, it’s safe to say Snask made one giant poster.

Created for the Malmö Festival (Scandinavia’s largest city festival), Snask think it’s the first poster ever to have been turned into an entire physical area. Öst gave us a breakdown of what goes into such a behemoth project:

It took: 900 Hours 14 People 175 Liters of paint 280 Plywood Boards 10 000 Nails

As part of the festival, which takes place between August 15-22, the poster will be on the streets of Malmö for people to interact with, sit on, jump on and sleep on.


Behold The Man

It’s obvious when you’re looking at a piece of work whether it should be described as a labour of love. This is one such personal project, that was begun in 2009 by Marksteen Adamson, and is culminating in an exhibition currently on at ‘The Wilson’ in Cheltenham. ‘Behold The Man’ is the title given to the project, an honest and hopeful look at the situation of Alan Dainton, a rough sleeper in Cheltenham who is battling addiction.

Marksteen is a creative consultant and has won many awards at home and abroad. His agency ASHA is ranked in Design Week’s Top 100 as one of the most awarded agencies in the UK. Aside from his exceptional track record in agencies Marksteen also has some extensive projects and initiatives to his name (including The Cheltenham Design Festival). In 2004 he founded The Big Cold Turkey Foundation, supporting organisations actively concerned with youth at risk from drugs and alcohol.

I caught up with Marksteen to find out more about ‘Behold The Man’…

Sadly homelessness and substance addiction is a regular sight in our cities. Sum up why you felt Alan’s was a story that needed to be told? 

There is no silver bullet to this problem, but I wanted to explore the different avenues to see where my energy should be focused around this issue in the future. There is a time and place for ‘Sustination’, but its very short term. ‘Intervention’ relies very much on the individual being willing, so that’s not always an option, but ‘Prevention’ should be on the top of our list of priorities if we want to avoid an epidemic in the future. The problem with focussing on ‘Prevention’ is that, like climate change, it’s not tangible, because it hasn’t happened yet, and so therefore its hard to raise money, help people understand, or get support. People like to give to and support things they can see. It’s tragic really, because preventing a kid from going down this route will save the government tens of thousands of pounds a year per individual.

You started this project – or the relationship that lead to it – back in 2009. That’s a long time ago! Is ‘Behold The Man’ a one off or do you see yourself doing other self-initiated projects for ‘The Big Cold Turkey’ charity?

I’ve always had other personal projects going on like the School project in Tanzania, The Big Cold Turkey Foundation, Cheltenham Design Festival, setting up Kings community Café, or teaching young people to take better photos. I don’t think I could do my day job without these things ticking away in the background. It’s a nice change to have projects where I’m the only client.

Has Alan seen the exhibition, and if so, do you know what he thinks of it?

Yes, Alan has seen the exhibition and he loved it. He also got the fist copy of the signed and numbered limited edition book. He loved that too, and has always said the “even if it only helps one kid, telling my story will be worth it”

It’s obvious by the level of excellence and quality of finish that a lot of time and love (&money) has gone into ‘Behold The Man’ – how did you make it all happen?

I had an initial idea about what I wanted the book to be; layout, images and content and different papers and embossing. I wanted it to be slightly over the top, to clash with the subject matter. It was a deliberate attempt at making you feel slightly uncomfortable that so much effort and quality was devoted to what most people would consider to be a hopeless case of addiction, homelessness and total disregard for society. I wanted to make something beautiful out of the dirt and chaos of Alan’s world.

I wanted to flip ‘significance’. I wanted to confront our prejudices and make the ‘in-significant – significant’, and the perceived ‘significant – in-significant’ when experiencing the large portraits of Alan and the quality of the book. I wanted people to realise that we are all the same and we are all capable of being in that situation, had we had a different start in life. The difference is the choices we have made. Some of us just made better choices. Scott McGuffy, Simon Dryland and Chris Greenwood also worked tirelessly with me on design, paper selection and general quality standards. Andy at Severn Print was also instrumental in making the print happen the way it did. We got a lot of support from him. It was not and easy print job! Also, Hannah, our super project manager worked really hard managing all the suppliers, timelines and quotes. The ASHA team have been an amazing support.

If you’d like to support the work of the Cheltenham YMCA which helps homeless young people you can purchase the book, postcards and posters on The Big Cold Turkey site, here.

You can watch the 30 minute film that accompanies the book here – It contains scenes of drug-taking that some viewers might find upsetting.


Homeless Fonts

When walking past a homeless person holding their handwritten sign, some will spare a little money. Barcelona-based advertising agency Cyranos McCann saw a much bigger opportunity to help.

Cyranos McCann launched Homelessfonts, which consists of a collection of typefaces based on the handwriting of homeless people. The idea behind these typefaces is for big brands to use them in their advertising and corporate announcements.

“I never thought my typeface could be worth anything,” says Loraine, one of the participants in the scheme. “Thanks to this project, I’ve discovered that my writing is nice enough for a brand like Valonga to take an interest in it and use it on their products.”

The funds collected through will be used to finance the work of the Arrels foundation for homeless people in Barcelona. In 2013, Arrels worked with 1,354 people, 436 of whom actually sleep in the street. The foundation supports homeless people on their way to independence, by offering accommodation, food and social and health care. There are currently about 3,000 homeless people in Barcelona, 900 of whom actually live in the street.



New Jersey-based live action and design studio Aggressive specialise in the production of music videos, commercials and short films.

We’re particularly loving the pulsating CGI lightbulb sculpture in the recent video for singer-songwriter Cris Cab.


FFFootball – James Roper interview

As part of FFFootball posts, we recently had a quick chat with James Roper who co-founded the Green Soccer Journal magazine with Adam Towle back in 2009.

The magazine is a great read and definitely puts the ‘beautiful’ into the beautiful game. But we’ll let James tell you more.

Tell us about your design background and what made you want to start the Green Soccer Journal?

Both Adam (GSJ’s co-founder) and I studied fashion at University in London where we first met, before Adam moved on to study graphic design in Leeds. Coincidentally we are both from Derby and kept in touch, meeting up at Christmas and during long mundane summers in between our studies.

When Adam moved back to London to look for work we caught up a lot and it was something he had wanted to work on for a while. We both have a passion for football and worked within creative industries and it seemed like a lightbulb moment; why wasn’t there a ‘good’ football magazine?

I was working at Burberry at the time as one of the art directors and had made a lot of contacts in photography, production and journalism and felt the itch to try something new and independent. Between the two of us we spent our free time putting together a pilot issue and it snowballed from there.

The response was incredible and before we knew it we were renting a studio on Kingsland Road and made the leap into being self-employed, working on the magazine as a full-time project.

What do you make of the relationship between football and design?

There are so many elements within football that incorporate and rely on design – some are very impressive and others extremely generic.

We work closely with brands such as Nike and Adidas, where the development and technology that goes into kit and boot design is really forward-thinking. The time and energy that goes into making their product lighter, faster, or more eco-friendly is something that evolves on a daily basis.

However, when it comes to other areas such as news, magazines, campaigns, this is where we thought there was something missing. The newsstand was full of screaming headlines, gossip and throw away content. The aim of The Green Soccer Journal was to create something timeless. We wanted to document players, stadiums, fans and the culture of football in a way that we would enjoy seeing it. Through strong photography, well-written articles and by taking a step away from the clichés associated with football.

What do you make of the current design and branding you see at football clubs and grounds? (From programmes to interiors etc.)

This is something we would love to work on as a studio project.

The new stadiums are extremely impressive, structurally and architecturally, but when it comes to the finishing touches I feel they are wasted. For example, the Club Wembley experience is overly corporate, which is a real shame as it could be given a few traditional touches and turned into something much more interesting.

It’s difficult to get the best of both worlds, though. One of the most exciting stadiums I visited was Goodison Park – it still has that nostalgic feel and feels like a family club. The commentary box was hanging in the rafters and looked like it could fall down at any moment, but it had a real sense of community. It’s hard to keep that history when you build a new stadium, and some of the modern clubs do put some effort in with their branding.

A case in point is Manchester City, where all of the advertising hoardings around the pitch are sky blue, which keeps everything nice and clean. Arsenal always have a great display of history as you enter the ground, with their various statues and memorials.

As for programmes, they serve a purpose. We know how difficult it is putting a magazine together 4 times a year, so one every fortnight must be tricky. There’s no doubt that the design could be improved, but all the information is in there and I’m not sure how much the fans worry about the aesthetics.

We’ve seen the likes of David James and Dimitar Berbatov showcase their drawing skills, but have you met any footballers that harbour design ambitions?

Would love to say yes. But have yet to meet any. Lukas Podolski was really excited by the magazine, which was great. He’s kept in touch and always mentions us on social media. If more of the players took a similar interest in the project I’m sure our following would be much bigger.

What is your favourite example of design in the world of football?

The World Cup posters from ’70,’74 and ’78 always come to mind, especially the West Germany one. I suppose it’s the same as any tour or film poster from that era. They just looked better than they do now.

Footballers have a certain public perception, how have you found art directing/interviewing them?

It’s pretty straightforward once you have them in front of the camera – it’s getting them there that is the problem. They are extremely protected individuals and arranging appearances is quite a drawn-out process. Their schedule is fairly unpredictable, for example; if they have a bad game the night before, there is a chance they will be called into practice, and a shoot you’ve had arranged for months can be cancelled just like that.

Most other magazines – fashion and music titles, for example – all work with talent that have something to promote, whether it’s an album or a new collection. These guys don’t need any promoting. They do that on the pitch, so it’s hard to get them to give up their time and, when they do, it’s a matter of cramming as much as possible into anything between 30 minutes and 2 hours.

If you could design one teams kit, who would it be?

As a Birmingham fan, I designed hundreds of kits for them as a kid. I’m sure Adam would love to get his hands on the Derby kit. They’ve just signed with Umbro again so it will be interesting to see next season’s offering.

There’s must be some great potential copywriters in football crowds. What’s the best chant you’ve heard (keep it clean!)?

Last year, we hosted an exhibition of football chants from illustrator Mark Long. There are some great ones in there. (See below a few examples. You can see them all here.)

If money was irrelevant would you rather be a designer or a footballer?

At the top level, I would say footballer. We have been privileged enough to attend training grounds around the world and there is no denying that they have a pretty special life. There’s no doubt that the pressure is high, and they might be sheltered from certain aspects of reality, but the pros seem to outweigh the cons.

And finally James, who’s your money on to win the World Cup?

Chile. (I drew them in our office sweepstake, so I’m sticking with them). It’s been a very unpredictable one so far so you can’t rule them out.

A big thanks to James for his time.

Follow the GSJ on Twitter and Facebook


Laurindo Feliciano

What do you get if you mix a lifetime’s collection of vintage books, magazines, postcards, letters, essays and records sleeves, with the rigid creative process of an architect?

Well in Laurindo Feliciano’s case you get a fantastic collection of nostalgic, surrealist illustrations apparently.

Originally from Brazil, Laurindo moved to Paris in 2003 to become an architect, before moving to Burgundy in the calm French countryside to focus solely on his passion of art.

In this idilic environment, armed with scissors, glue, pencils, old paper, found pictures and his Mac, Laurindo has aimed to “capture and to translate the maze of collective memories of other individuals, as well as my own, that have faded or become vague, acquiring new value as they age”.

Feast your eyes on more of Laurindo’s work here.


Paul Smith collaborates with Lladró

Last I knew of Lladró they were beautiful – if a little twee – classic porcelain figurines which decorated the living rooms of mums everywhere in the 80′s and 90′s.

However now the Valencia-based company are collaborating with cutting-edge artists to give a contemporary, irreverent twist to the classic porcelain collectibles, presumably with the aim of appealing to a younger market.

The most recent collaboration sees Paul Smith working closely with Lladró’s artisans to produce mischievous confetti and covered masked animals. Like the rest of the pieces in the collection, the new figurines come in two sizes: large (52cm tall) in a limited edition of 250 and small (30cm) in a numbered edition. Besides going on sale in Lladró’s and Paul Smith’s own shops and their online stores, the new The Guest by Paul Smith figurines will also be available in a select network of galleries and concept stores.

Find out more on Lladró Atelier and The Guest at here.



Spanish agency Bisgràfic have been producing some excellent print and identity work from their base in the town of Vic, Catalonia.

Having recently opened a new studio in Barcelona the team decided to celebrate the move and have taken the unusual step of inviting several Barcelona-based designers to create a welcome poster for their imminent arrival. To their credit a who’s who of the Barcelona design community, including Hey, Toormix, Atipus, Folch Studio and Forma & Co accepted the offer and created posters to welcome the new arrivals.

According Pep Alcàntara, creative director of Bisgràfic, this project is a great example of the creative community that exists in Barcelona –

“when a colleague invites you to participate in a creative initiative here the answer is always yes!”

Delighted by the great response from contemporaries willing to say “hello” in poster form, Bisgràfic plan to print all of the posters submitted before organising a get together of all the participants where the posters will be exchanged. In the meantime you can check out all, the designs at Benvingut Bisgràfic Barcelona.


Talin Hazber

As sources of inspiration go, sand might seem like a difficult one to get excited about. Well, not so for Syrian Talin Hazber, who is now an architect doing research on solidifying sand, in order to challenge and celebrate its natural qualities.

Talin explains what it is about the gritty stuff which has inspired her to craft it into works of art:

“I have always been fascinated with the desert around me, the dunes scenery and how one can easily lose the sense of direction, space and views… I now look into transforming this lyrical natural scene into a spatial and rhythmical experience.”

As part of her research into the micro and macro qualities of sand Talin has created fully functional sand lamps – entitled Tranquility Nodes. The aim of these, intricate, granular lamps is to create an intimate setting while influencing their space, in a way that appears to affect the composition of their environment.

Having already spent years exploring different techniques of solidifying, moulding and engineering sand, we found out that Talin has big plans for the future – literally and figuratively:

“My intention is to create architecture, landmarks and sand structures that people can relate to in the massive scale of the desert. I dont see it anywhere and anytime ending… the potential found in the grain of sand are beyond one’s expectation”

Explore some of Talin’s first fine-grained footprints on her journey to creating these sand landmarks…

Supported by

Recent features

View all features


Recent Jobs

+ Add a job to this list

Senior Digital Designer

mavis, London

Freelance Designer / Full Time Designer

Stand Ltd, Glasgow

Middleweight creative

MC2, Manchester, UK

Lead Creative / Grahic Designer

SSB Consulting, Southampton

Graphic Designer

BrandFour Ltd, Brighton

Senior Account Executive (Temp to perm)

mavis, London

Front-end Web Developer

Raisingt IT , Nottingham


Stunning design and simply lines. Great stuff.

Jai @ DeFrae on Gomez by Savvy Studio

love the illustrations

Jenny Ure on Jane Laurie

Leo on LEGO: Everything is NOT awesome

Nice book. Is this available for I-pad. Please inform?

Graphic Dig on Graphic Design: A User’s Manual—Book Review

Pretty poor attempt at linkbaiting.

Caroline on FFFootball — Cog World Cup

Chingón! Great work!