Creative Process

Looking at how work gets made & what gets in the way

How I Work: Animator Will Child

Director, animator and claymation artist Will Child has transformed football managers, hip hop stars and pop culture figures into irreverent plasticine models. He talks to us about his “janky” animations

Leopold from I Know How Furiously Your Heart is Beating by Alec Soth

Alec Soth’s venture into the great indoors

As his photo series I Know How Furiously Your Heart is Beating goes on show at Foam in Amsterdam, Alec Soth discusses the intimacy of photographing people at home and how the project has taken on a new metaphorical meaning in these times

Why craft will still matter after Covid-19

A combination of the pandemic and recession is having a big impact on how ads are made and budgets are spent. Here, CR speaks to three advertising industry pros about how they’ve had to adapt, and what the threats are to craft

Revolutionising textiles with ecology

London-based designer and researcher Natsai Audrey Chieza has spent the best part of a decade evolving the use of natural systems in textile design and production. She talks to Megan Williams about her practice and why it’s still an uphill battle to engage with the fashion industry

Ita O'Brien

How I Work: Intimacy Coordinator Ita O’Brien

The intimacy coordinator has worked on TV shows including Sex Education, Normal People and I May Destroy You to help actors feel empowered in intimate scenes on screen. She talks about her work and why brands and advertisers need to take notice of it too

How I Work: Henn Kim

South Korean illustrator Henn Kim’s hauntingly beautiful artworks have made her an Instagram sensation, earning her commissions from everyone from Unicef to Sally Rooney in the process. Here, she discusses the value of using creativity as an emotional release

Designing The Luminaries

Eleanor Catton’s bestselling novel, set in New Zealand during the 19th century gold rush, has been reimagined in a six-part drama for BBC and TVNZ. We talk to production designer Felicity Abbott about the joys and challenges of bringing Catton’s epic story to life 

Behind the scenes at Shangri-La’s VR festival Lost Horizon

With Glastonbury’s cancellation leaving a gaping hole in the music calendar this summer, Shangri-La creative director Kaye Dunnings was determined to create a virtual experience that festival-goers could enjoy from their homes. We speak to her about bringing Lost Horizon to life

How We Got Here: Willo Perron & Brian Roettinger

As partners at Willo Perron & Associates, designer Brian Roettinger and creative director Willo Perron have worked on creative projects with some of the world’s biggest brands and musicians. We talk to the pair about their process 

How I Work: Director of Photography Newton Thomas Sigel

Newton Thomas Sigel has created striking aesthetics for a dizzying array of films, from cult action flick Drive to Spike Lee’s new Vietnam War joint Da 5 Bloods. He tells CR what drives him to work across so many genres, and the importance of the DP-director relationship

How to make an ad from home

As brands and agencies get to grips with the new reality of producing ads in lockdown, CR investigates the challenge of homemade advertising and the ways it might change the industry in the long run

The visual evolution of Run The Jewels

As Killer Mike and El-P release their fourth album as rap duo Run The Jewels, we speak to long-time collaborators Tim Saccenti and Nicholas Gazin about how the band’s ‘stick-up’ hands logo has become one of the music world’s most recognisable emblems

How I Work: Dominique Evans, The Royal Mint

Dominique Evans has worked as a graphic designer at Britain’s oldest company, The Royal Mint, for over a decade. CR speaks to her about how she got the job, and what it’s like knowing that your work will live on in purses and pockets across the country

How I Work: Michael Lee, Oatly creative director

Oat drink brand Oatly is at the forefront of the plant-based revolution – and it has divided audiences in the process. Creative director Michael Lee talks to us about working in this landscape, building a voice founded upon Swedish humility, and embracing noise

Reimagining Normal People for the small screen

As Sally Rooney’s bestselling novel gets a TV adaption, director Lenny Abrahamson discusses the challenges of translating the book’s intense emotions and internal monologues to a visual medium, and rethinking the way teenage relationships are portrayed on screen

How I Work: Jimmy Turrell

The graphic artist talks to CR about creating enigmatic album art, trawling charity shops for inspiration and putting a contemporary spin on collage

How I Work: Ian Pons Jewell

Director Ian Pons Jewell shares his thoughts on becoming adland’s go-to director for everything weird and wonderful, and why he writes back stories for every single character – yes, including Skittles’ yoghurt boy

Creating the artwork for Tame Impala’s The Slow Rush

Photographer Neil Krug and Tame Impala’s Kevin Parker travelled to an abandoned mining town in the Namibian desert to shoot the cover art for The Slow Rush. We talk to Krug about the shoot, getting creative with leaf blowers and turning faded rooms into a dream world