And so here’s The Annual, and what have you done, another year (nearly) over and a new one (nearly) begun! Now I don’t claim to speak for John Lennon (apparently his “estate” say I don’t have the “authority” to do that any more) but I think we ALL know what he’d make of our new publication. And of course I’m not DEFINITELY saying it’d achieve world peace but if you dropped a carton-load of these on a warzone there’d at least be some downtime while both sides flicked through this behemoth of a book, packed full of some of the most exciting and engaging work we’ve come across this year.
As soon as it arrived back from the printers we were cooing over it like proud new parents and now we’re ready to show it off to the world. So marvel at its cool Parra-designed cover, fuss over all the beautiful work on show and nod approvingly at its bulky size. In terms of condensing down 12 months into something that could grace any coffee table in the land we think we’ve done pretty well, and can’t wait for it to start landing on doorsteps in the next few days.
If you want to get in on the action there’s still a few copies left for you to order over on our shop for just £35 plus postage and packaging. But enough natter, we’re delighted to introduce to you to The It’s Nice That Annual 2012.
You can order The Annual here.
- Camelot’s typefaces bring both the contemporary and historical to the table
- Scott Newett’s eerily quiet, ethereal portraits of Chinese utopia
- Jade Schulz’s atmospheric and imaginative editorial illustrations
- Emiliano Granado’s new zine puts a fresh spin on Tour de France fandom
- The big cover up: Mathieu Tremblin's translations of graffiti
- Artist Howard Fonda captures the vibrancy of summer for Ace & Tate
- Benedict Redgrove’s beautifully hypnotic film about how a tennis ball is created
- Tommy Cash subverts the tropes of rap videos with a fleshy celebration of the human body (NSFW)
- Ian Davis’ picturesque paintings of bureaucratic dystopia
- Is it ever OK to work for free?
- Pentagram unveils refresh of Mastercard’s brand mark and identity
- Peter Saville and Tate Design Studio create beer can artwork for Switch House pale ale