<H2> A blocky blank canvas: how Minecraft is inspiring a new wave of art and design </H2> |
<H2> Latest </H2> |
<H2> The Nice List: Our creative gift guide to the best independent makers this Christmas </H2> |
<H2> Perspectives </H2> |
<H2> A chat with New York Nico, the filmmaker documenting New York’s most charismatic people and places </H2> |
<H2> Long Reads </H2> |
<H2> It's Nice That Newsletters </H2> |
<H3> A chat with Glen Baxter, the “Yorkshire surrealist” who’s spent decades drawing cowboys in strange scenarios </H3> |
<H3> Qingyu Wu’s nostalgic design is inspired by objects of the past, from mid-century chairs to hi-fi systems </H3> |
<H3> What does AI look like? Google DeepMind’s Visualising AI demystifies through original and imaginative artworks </H3> |
<H3> Jackanory time: Hannah Gibson’s book introduces children to cockney rhyming slang </H3> |
<H3> Homeware brand Tuma’s visual identity is built on earthy tones and cosy illustrations </H3> |
<H3> Game on! A look into the rise of design-led board games </H3> |
<H3> Alex Peake explores girlhood and sisterhood in this touching animated film </H3> |
<H3> Reinvention and evolution: Inside the design of Spotify Wrapped 2024 </H3> |
<H3> Summer Wagner’s surreal yet strikingly familiar photographs feel like hyperreal paintings </H3> |
<H3> Buy prints from emerging artists in the first It’s Nice That x DROOL collection </H3> |
<H3> Nature meets mass culture in Bryson Lee’s technicolour illustrations </H3> |
<H3> POV: How valuable is the obscure creative reference? </H3> |
<H3> For Rachel Quan, giving design a tactile quality is a meditative process </H3> |
<H3> James Lake’s cardboard creations come to life in new animated feature </H3> |
<H3> Bearing witness to London’s street life: Emmanuel Cole shares the story behind his first photobook </H3> |
<H3> Inflatable art and floating logos — if you let go of Monga’s new identity for Sopro, it might fly away </H3> |
<H3> Calling The Shots: Queering the history of photography with the V&A </H3> |
<H3> Parámetro Studio is taking inspiration from things that “might be out of trend, or a bit aged” </H3> |
<H3> Cécile et Roger’s new exhibition identity features a singular font that folds out into six more </H3> |
<H3> “More roles, more movement, more churn, more newness” </H3> |
<H3> Why are we so affected by colour and how can we harness its power? Rose Pilkington digs into her vibrant digital practice </H3> |
<H3> Nightpay is Rachel Fitzgerald’s eerie take on paranoia and petrol stations </H3> |
<H3> Dasha Surma’s artworks are all about making magic out of the mundane </H3> |
<H3> Graphic designer, do you need to study “The Design Greats”? </H3> |
<H3> POV: The cool factor of zines draws brands, and hurts publishing </H3> |
<H3> POV: Is working online causing a rise in rudeness? </H3> |
<H3> POV: The illustrators aren’t alright </H3> |
<H3> Elizabeth Goodspeed on untangling credit in design </H3> |
<H3> Elizabeth Goodspeed on the new battleground of political swag </H3> |
<H3> Elizabeth Goodspeed on the power and perils of the mockup </H3> |
<H3> Heralding the ancient and otherworldly charm of Future Medieval graphics </H3> |
<H3> The View From Tokyo: the fascinating origins, and triumphant resurgence, of Risograph in Japan </H3> |
<H3> The View From LA: the grassroots design events fuelling the city’s creative heart </H3> |
<H3> The View From Berlin: why stickers speak for the city’s creatives and activists </H3> |
<H3> The View from São Paulo: the book designers turning heads and pages </H3> |
<H3> The Two Pages sketchbooks have travelled the world, and will restore your faith in creativity </H3> |
<H3> “Art is a way of saying the unsayable”: Jeremy Deller and John Costi on curating an exhibition by people in prison </H3> |
<H3> Death and design: the creative projects confronting society’s ultimate taboo </H3> |
<H3> When perfectionism makes you a better creative, and when it doesn’t </H3> |
<H3> The Sharp Type rebirth: what’s next for Lucas Sharp and Chantra Malee? </H3> |
<H3> Inside the Palestinian Sound Archive: preserving the audiovisual legacy of Palestine, one record at a time </H3> |
<H3> After having a stroke at 25, Eilish Briscoe created a typeface to show the process of learning to write again </H3> |
<H3> How to keep going: Navigating the ebb and flow of creativity and motivation </H3> |
<H3> Bitter aftertaste: the fraught world of branding cultural food products </H3> |
Social
Social Data
Cost and overhead previously rendered this semi-public form of communication unfeasible.
But advances in social networking technology from 2004-2010 has made broader concepts of sharing possible.