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    Way back in 2011 when we first posted the work of Frank Magnotta It’s Nice That was a very different beast – we’d only give you one image to check out and the rest was up to you. So when I stumbled across Frank’s work again this week it seemed essential that we show you a whole lot more. To be honest there have been few updates to his site in the past three years but the work is breathtaking, pulling together pop culture references, architectural precision and some serious Americana and combining it into stark surrealist landscapes. At times grotesque but always engaging, Frank’s graphite artworks are still some of the finest around.

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    It’s not often you get to hear the story behind the cover of a magazine, but personally whenever I catch someone speaking of it, my ears prick up in excitement. Our magazine Printed Pages is quarterly, and the cover is often a too-many-cooks, arguing around a table sort of affair – which I actually love. What’s always boggled my mind is how The New Yorker goes through this gruelling tongue-biting process every week. It’s largely down to cartoon expert and art editor of The New Yorker, Francoise Mouly. Her and cover-obsessive contributor Mina Kaneko spend their time debating and discussing which artist would be up for the challenge of inhaling the essence of New York at that very moment, and translating it into an instantly engaging, witty image. The best part is, once the cover is out into the world, they speak to the artist about the process of making it, and what the city means to them.

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    Ever wondered what happens when you die? Do our souls live on in heaven, frolicking about with those of our lost loved ones? Is there a dark, black nothingness? Or do we get stuffed to the eyeballs with gems and a big shiny crown thrust on our heads until we’re all trussed up like a little skeleton Liberace?

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    When the Design Museum planned its Women Fashion Power show, which opened last month, it was very much keen to take the “women” component seriously, appointing them to take care of both the exhibition design and graphics for the show. As such, it drafted perhaps one of the most famous women in design’s practices, Zaha Hadid Architects for the exhibition design; with Lucienne Roberts and her team (Dave Shaw and John McGill) at LucienneRoberts+ creating the graphics.

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    It’s fair to say that at some point towards the end of last year we reached peak process video, subsumed by a wave of formulaic offerings that were neither interesting nor exciting. So when we came across this new film from Aesop, slightly pompously called The Guild of Artisans it didn’t quicken our pulses. But in actual fact beyond the title, this is a rare example of a process film that’s well worth a watch. It follows the journey of Aesop’s jars and bottles being crafted and although there’s one or two things we’ve seen before, the moody imagery is brilliantly shot and there’s a few moments which set the teeth on edge. Anyone planning a craft process film in the near future take note; this is how it should be done!

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    Based in Manheim, Germany, Deutsche & Japaner have a really great sense of what looks good. They have been on the site a couple of times for their stylish graphic design but this work for the Aesthetics Habitat project shows off a bit more of their own personality. The site is described as “a venture all about meeting objects with a personal interpretation, transforming its function and creating narratives” and in essence its curators invite creatives to respond to and reflect on their relationship with a favourite thing of beauty.

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    If our interview with Brown Cardigan as part of our feature on to digital publishing has taught us anything, it’s that you shouldn’t underestimate the power of a GIF. Introducing then Japanese illustrator Nimura Daisuke, who has perfected the art with some of the sweetest, rudest moving images we’ve ever seen. How could you not fall for a shot of a woman flashing at a grumpy man as he looks the other way, or an unfortunate schoolboy leaning over and having the full conents of his rucksack crashing to the floor?

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    We often talk about the difficult second album at It’s Nice That, the problem being that when you pour every ounce of passion you have into version zero of a new project it can be tricky to replicate this energy the second time around. Rather than falling into that old trap though, the creators of art and commerce focused publication Noon appear to have taken a great leap over it. Following up from the first issue of which we made no secret of fawning over last time around they’ve somehow found time to sit back, regroup and then set out to create something even more impressive with issue two. Safe to say, it’s quite something to behold.

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    These photographs in the latest issue of the ultra-slick men’s fashion mag, Arena Homme+, are so incredibly perfect, never have I felt so giddy at the combination of slouched, neutral knitwear and ambiguous, colourful props.

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    Afternoon pod fans! We’re back for another week (got to admire our dedication if NOTHING else) and this week we’re talking about Band Aid 30 off the back of this excellent Bryony Gordon evisceration of the whole shebang before moving on to chat about our new digital publishing feature and why online pioneers don’t get the same attention as the so-called golden age of print. As ever listen using the SoundCloud embed below or subscribe via iTunes here.

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    London’s Wellcome Collection space always hosts explorations of the things that fascinate us most. It’s covered death, it’s exhaustively explored the human body in all its glory and grotesquery, and now it’s moved on to surely the most fascinating of all – sex, or more precisely, how people have studied it.

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    Today’s headline on the BBC about Myleene Klass’ recent outcry about mansion tax reads: “Myleene Klass tax jibe raised in Ed Miliband v David Cameron clash.” Over on The Daily Mash, their headline reads “Dodgy bastard who sold garage to Myleene Klass goes into hiding.” Satire is hard to do. A lot of people have never got it right, and in terms of journalism you could say that only Private Eye and Viz were truly successful, in that they 100% got away with it, and still do.

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    How’s this for a collaboration? Artist Quentin Jones, who counts photography, animation, painting and filmmaking among the tools of her trade, has teamed up with spatial designer Robert Storey to create the setting for her new exhibition in the The Vinyl Factory Space on London’s Brewer Street, with Robert creating a set for each of Quentin’s works.

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    With a portfolio bursting with fashion, editorial and portrait photography, it’s no surprise Tung Walsh’s client list is constantly growing having shot for big-wigs including A.P.C, Dolce and Gabbana, BON and W magazine among others. Capturing a mixture of models and famous folk, his style is cool, edgy and setting the standard in achieving that originality and freshness many photographers can only imitate.