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    A couple of weeks ago, Channel 4 aired a documentary (below) which saw photographer Giles Duley (himself a triple amputee) meet some of the disabled victims of the war in Syria. It was a difficult watch but an extremely important story to tell, and one that meant a lot to Giles. He got in touch to say that although The Guardian ran an in-depth piece on the same theme, he had some photographs which weren’t used that he was really keen to get out there.

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    Lawrence Zeegen has never been one to mince his words. The illustrator, writer and dean of design at London College of Communication has recently launched his new book Fifty Years Of Illustration which he co-wrote with Grafik editor Caroline Roberts. It’s an impressively ambitious undertaking with the duo condensing five decades into 1,000 images by 240 illustrators from 30 countries. Lawrence admits it’s a “pretty personal selection” but one that aims to “represent the movers and shakers across each decade according to the work I believe was instrumental in shaping the discipline.”

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    In December last year we received a zine in the post from Yorkshire-based photographer Christopher Nunn that documented a small selection of images he’d gathered in Ukraine. Kalush offered a unique perspective on a region that was thrust suddenly and violently into the public consciousness, showing us the quiet, everyday side of a place that – from television coverage at least – you’d have been forgiven for assuming was razed to the ground.

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    Victoria Siddall has worked at Frieze for just over a decade and two years ago was made Director of Frieze Masters. Excitingly, just a few weeks ago she was appointed Director of Frieze Masters, Frieze New York and Frieze London. As well as being one of the most powerful women in the art world, Victoria is also my sister, so I was curious to find out how she’s feeling on the dawn of her new career.

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    Forget what you think you know about surfing; the “gnarly dudes” on the hunt for “tubular waves” (I’m basing most of this language on Sean Penn’s character in Fast Times At Ridgemont High, but you catch my drift). Finisterre’s latest surf film is more in line with Jonathan Glazer’s legendary Guinness ad than any piece of footage you’re likely to see for O’Neill or Billabong. For one thing it’s not set in an exotic location – there are no bikini-clad babes – as they’ve traded warmer waters for the icy depths off the coasts of northern Scotland and Ireland.

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    All too often these days we stumble across a jaw-dropping example of set design, only to discover the impressive final image is actually the result of some clever visual trickery and digital manipulation. That’s an impressive art unto itself, don’t get me wrong, but pure CGI can leave me feeling a little shortchanged.

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    When David Mckendrick told us he was leaving Esquire and setting up a new venture with Wallpaper* art director Lee Belcher, we were fascinated to see what the fruits of such a top-notch collaboration might look like. Last week we got our answer, when a copy of the new Christie’s magazine came dropping through our letterbox.

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    Ever see those massive billboards of ice-cold beverages and think “who actually photographs those?” Well now we know, it’s Nick Rees, a still-life photographer who specialises in drinks. From pints of Guinness as black as night, to a mouthwatering, fizzing glass of ice cold Coca-Cola, Nick manages to fill your mouth up with saliva with every image he takes. Want to know the best bit? He doesn’t even use CGI – he states that each of his images is “100% a photograph.” We caught up with Nick to find out the ins-and-outs of this niche branch of photography…

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    Flickr is one of those magical treasure mines of the internet that’s sure to yield gems if you just look hard enough, and every now and again on our travels we stumble across a great hunk of uncut diamond. To continue the metaphor, Dave Glass is one such treasure.

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    London-based brand Heresy presented its new collection this week in the guise of its Autumn Winter 2014 lookbook. Entitled Forming, the collection is a quiet amalgamation of illustration and traditional workwear, combining illustrated elements and hand-drawn type with carefully crafted structural staples made from loop-back jersey and felted wool.

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    Photographer John Kilar was born in Istanbul, grew up in California and then settled in Los Angeles, for a bit. He now lives a nomadic life, traveling round with his point-and-shoot camera documenting the world as he sees it with an honesty and pathos and humour which strikes us to the very core. He also has a great way of talking about art and life which is inspiring without being patronising or cheesy; it’s just him doing what he does and calling it as he sees it. Particularly enamoured by his pictures of festivals, we tracked him down in Texas to ask him a few questions…

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    For his new single New Dorp. New York featuring Vampire Weekend’s Ezra Koenig, SBTRKT released his first animated music video yesterday; a smoky, surreal trip to New York featuring one swaggering, mask-wearing dog. It’s a weird and unsettling trip as we follow this creature stalking through a city that may or may not be New York, and it marks an interesting new visual direction for the artist. We caught up with SBTRKT, director Fons Schiedon and his creative collaborator A Hidden Place.

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    It can’t be every day that a UK studio gets approached by a leading Russian bank after a brand identity for their new app. So when we heard that NB Studio have created Zhuck, a banking app with a brilliantly satirical edge – an app which actually jeers at the user, goading them into working a bit harder, like a personal trainer who helps you gain pennies instead of losing pounds – we had to learn more. Nick Finney, creative director, answers my questions and reassures me that no smart-phones were harmed in the making of this app.

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    Bronia Stewart first caught everyone’s attention back in 2013 with her project Babe Station. With this gritty series taken behind the scenes at an adult television channel the LCC graduate dove into salacious subject matter showing maturity, confidence and creativity beyond her tender years. Where could she and her camera possibly venture next?

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    Stumbling across the portfolio of photographer Sam Bush, you’ll immediately be struck by the diversity of his work. His singles all demonstrate a refined aesthetic and a coherent style of lifestyle photography that’s incredibly on point. Then there’s the energetic chaos of his gig photos, featuring sweaty, heavily-tattoed guys and girls kicking the crap out of each other in the mosh pit. And then you stumble across a large series on riots – it’s a mixed bag, but a mixed bag of delicious treats.

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    Normally we have to scrabble about, beg, or leave hampers on doorsteps of famous photographers in order to interview them. By some divine miracle, Creative Director at Sony Music and absolutely legendary music photographer Josh Cheuse came knocking on our door. Would we mind posting about his work in the lead-up to his solo show in New York? Certainly not. Could we ask him some questions about his spectacular firework of a life hopping across the pond and back again to photograph some of the world’s most famous musicians? Sure.

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    Several years ago, Luke Archer came across an antique camera in his mum’s shed. It was in amongst heaps of equipment from his grandfather’s studio, who was also a photographer, and originally belonged to Alexander Bassano, a Victorian society photographer. Out of this discovery, Inheritance was born; a project about the hereditary peers whose ancestors were pictured by Bassano but also about the portraitist tradition itself.

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    “Good artists copy, great artists steal,” is a line famously attributed to Picasso. There is some disagreement about whether the big man did utter these words, but it has endured as a truism; influence and inspiration flowing from one artist to another play a major part in the development of art history.

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    20 years ago in 1994, little known designer Eike König set up his “graphic design playground” Hort, creating a community in the centre of Berlin where creatives could collaborate on ideas and client briefs side by side. Nowadays, the playground is slightly bigger, undertaking work for Nike, The New York Times and Walt Disney among others, but the underlying emphasis on collaboration and experimentation remains exactly the same.

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    Some may think it’s easy to shoot Kate Moss. People have been doing it for years, but to my knowledge no one has ever done it poorly. Today we can say for sure that a major element of shooting Kate with real oomph is having a sheer passion for the model – as Alister Mackie explains in this interview. The creative director describes her energy as “buzzing” and speaks warmly of their time spent in her back garden as she lay in the grass for this AnOther Magazine cover shoot with the tone of someone who’s just coming down from a transcendental experience. What’s really great here is how someone like Alister, whose career is already packed full of things we proles can only dream of, can speak of a fashion shoot with such pure, palpable excitement.

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    New York-based visual artist Roxy Paine has achieved the mind-boggling feat of recreating an entire airport security checkpoint out of wood. This follows on from the mysteriously named Machine of Indeterminacy and Scrutiny and takes his maple masterpieces to a new degree of complexity. Sadly, he declined to tell me just how many trees went into the making of Checkpoint, which is part of his solo exhibition Denuded Lens at the Marianne Boesky Gallery in New York, but he has answered a few more sensible questions about just how he creates his crazily intricate works which explore “the discourse of the diorama.”

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    It’s one thing to bring up the issue of the gender gap in the technology industry in casual conversation, but it’s quite another to do anything about it. Andy Gonzales and Sophie Houser are high school students in NYC who met at a summer camp called Girls Who Code, and decided to use their opportunity there for the greater good, generating discussion around the taboo subject of periods and the distinct lack of women in the tech industries, and learning to code at the same time.

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    We love Jack Hudson. Sometimes I find myself staring at his drawings open-mouthed like a magic eye image – the level of minuscule is like in a Wes Anderson film, every time you go back to an image you’ll find something you didn’t notice before. The clever bunch over at Computer Arts decided to commission London-based Jack to make their magazine look sweet, and so he did. We caught up with him to find out how on earth you go about designing a magazine cover, and to find out the back-stories of the teeny characters featured within it. First one to spot Mr Bingo wins a Kit-Kat!

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    Just over a year ago Rob spewed forth with excitement upon reading the inaugural issue of German independent magazine Flaneur – a publication that creates content based on a single city street. It was, he decided, “both surprising and compelling, ranging from a photo-study of one night in a bar to a full musical score which captures the street’s sounds. Meanwhile the design, overseen by Michelle Phillips and Johannes Conrad of Y-U-K-I-K-O, is absolutely killer, building on and bouncing off the content to powerful effect.” Couldn’t have said it better myself. To put it bluntly; we were hooked.

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    The other week the good folks over at Penguin sent us a mammoth haul of brand new paperbacks covered in some of the best illustration we’ve seen on literary works for some time. The breadth of commissioning and the use of young and established talent was such that our interest was immediately piqued. So rather than just stacking them all up on our desks to show off what enquiring cultural minds we have, we got in touch with the art director responsible for them all to find out a little bit about his process and the talents he works with. Everyone, meet Richard Bravery, Richard, meet everyone…

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    Redesigns are so often chewed up and spat out in the design world, so when one comes along that simultaneously blows the socks off each and every one of your colleagues upon seeing it, you know it’s going to be worth digging a little deeper. When that redesign is an online space it becomes so much more intriguing than a print publication doing the same thing; the web is like a constantly surging ocean and to move with the tide can be treacherous.

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    There’s a huge red banner hanging across one wall of the V&A’s Disobedient Objects exhibition, which reads (in Russian): “You cannot imagine what we are capable of.” It’s a powerful line and sums up nicely the show as a whole, which examines “the role of objects in movements for social change.” The artefacts range from those that have played very direct roles in various movements – shields, posters, maps of protest camps and contraptions to help handcuff demonstrators together – to less obvious but quietly subversive tools like puppets or a game in which players must complete distasteful tasks in a bid to gather the materials to make a smartphone (swiftly withdrawn from the app store).

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    To say the last year or so has been tricky for Matilda Tristram would be a bit of an understatement; the comics artist, animator and illustrator was pregnant with her first baby when she was diagnosed with cancer, and what followed was terrifying, strange and at times funny too. Matilda recorded the nine months from gruelling start to the relief-inducing finish (at the risk of ruining the ending, she’s well! She has a lovely baby! He’s well too!) and now the whole shebang has been made into a beautiful book called Probably Nothing, published by Penguin.

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    Adam Ferriss is one of those technologically-minded creatives who is able to put his ever-growing knowledge of code and processing to use building aesthetically wondrous digital art for the rest of us to enjoy. His images make me feel like I’ve just taken some psychedelics and stepped into one of those crazy houses you get in funfairs, where there are giant optical illusions on every wall and the floor keeps moving under your feet, except these are made using algorithms and coding frameworks and, for the moment at least, they don’t exist beyond the screen.

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    Love it or loathe it, mobile phone photography is entrenched in our modern media culture. But it’s facile to lump this ever-growing phenomenon under a single umbrella, encompassing as it does everything from hipsters’ obsession with Instagramming their burgers to the vital role of smartphone-wielding citizen journalists in conflicts around the world. In recognition of the increasing importance of mobile phone photography and the numerous narratives intertwined with it, the British Journal of Photography has launched fltr, which bills itself as “the only magazine dedicated to mobile photographers.”

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    Colourful costumes, coconut curries and calypso aside, at the heart of Carnival is the celebration of a community. New book Carnival: A Photographic and Testimonial History of the Notting Hill Carnival, published by Rice n Peas Publishing, champions the magic, the musicians and the makers of the Notting Hill Carnival. In it, authors Ishmahil Blagrove Jr and Margaret Busby look back at the origins of the festival in the 1950s and 60s, before crime and crowd control began to hog the headlines.

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    The best of J.G. Ballard’s fiction is incredibly divisive. On the one hand readers are often disgusted by his brutality; an unparalleled ability to paint a picture of the world that is at once alluring and repulsive. On the other, devotees love that about him. As a result he encourages a near-obsessive loyalty among fans, for a body of work so distinct it’s been awarded its own adjective by the Oxford English Dictionary.

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    I’ve rarely spent as much time on an artist’s site as I did on Pooneh’s when first stumbling across it. Scrolling through her reams and reams of photographs is akin to waking up at a festival and trying to piece together flashbacks of the night before like some sort of stained, star-studded puzzle.

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    Taking on the art direction of a musical installation touring about British woodlands sounds like a somewhat complex task. To be honest, I wasn’t sure what a musical installation set amongst trees would even involve. I assumed it wasn’t anything to do with singing pixies.

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    The curious work of Corinne Day seems to rear its ever-appealing head every now and again, just to remind us of a time gone by that we weren’t part of, and will never fully understand. Gaining worldwide notoriety with her famous, career-making shots of a teen Kate Moss on Camber Sands for The Face, Corinne’s groundbreaking photographs of quintessentially British, black-soled urchins were to become stuff of legend. Contrived shoots of hired models were never her thing, instead Corinne lifted her lens to those closest to her – the ones doing the washing up, smoking fags out of windows, watching telly. The fact that all her friends were rebellious models was just a bonus.

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    From the way Marjorie Salvaterra describes how she works, she could be taken for an author, a screenwriter or a director. Like a writer waiting for a stroke of inspiration, this American actress-turned-photographer says “I mostly wait for images to come into my head before I shoot them, which can mean I don’t shoot for weeks at a time!”

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    In films, books, plays and works of art, one item can become piled high with layers of meaning; Desdemona’s handkerchief, Matisse’s apple, Dorothy’s ruby slippers. In Lucy Hilmer’s photography series Birthday Suits, one pair of white pants comes to stand for more than itself. Baring almost all, Lucy stands before the camera; sometimes defiant, sometimes distressed, most often smiling. There’s something deeply personal and poetic about these pictures which made me want to learn more about the woman – and the pants – at the centre of them. So over to Lucy, who answers a few of my questions.

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    Ever since he was a wee lad (Jack was an It’s Nice That Graduate in the summer of 2009) Jack Featherstone has been impressing us with his record sleeve designs and music videos, made for the likes of Holden and Simian Mobile Disco. Spying a pair of new sleeves and a brand spanking new video for Hachinoko by Jas and James – the pair behind Simian Mobile Disco – we decided to ask Jack a few questions on how he does his stuff.

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    Almost exactly a calendar year ago we introduced Dan Woodger on It’s Nice That; showed off his desk-space, his process and some of his skateboarding Dinosaurs. Six months later he was contacted by an art director who’d seen that article and enlisted him to produce one of the most labour-intensive illustration projects we’ve ever come across, creating over 1000 unique images for an emoji app. By way of apology for this torturous commission, we asked him a few questions about how it went…

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    Think about the sheer amount of books, articles, lectures and podcasts there must be floating around the earth on what makes a good record sleeve. We tend to consult designers, or record labels about the images that, thrown against sound, create something that sticks with you your whole life, that you could probably draw from memory. It’s rare when get an artist who creates the music and the artwork that makes it shine, but Tim Presley does.