Creative Process

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

Exposure Crew: Andrew Lim Clarkson

In the second of a new series of articles showcasing those who assist in making photography the rich world it is today – the stylists, hair and makeup artists, production designers etc – Gem Fletcher profiles the work of set designer Andrew Lim Clarkson

Documenting religion

Our enduring fascination with other people’s worship has long compelled photographers to capture different practices and faiths. Here, three photographers who focus on religion share their approaches and their personal motivation for the work

How I Work: Max Siedentopf

The artist, photographer, designer and director talks to CR about working at speed, the joy of not being confined by one discipline, how he balances the commercial with the personal, and why his spirit animal is a cross between a chameleon and a dung beetle

The beauty of ‘ugly’ portraits

Historically speaking, portraits have almost always been about glorifying the subject – so what’s behind our recent fascination with unflattering, caricatured depictions of ourselves?

The role of the sketchbook in creative work

Despite the dominance of digital, the humble sketchbook is still a vital tool in making creative work. Here, we speak to three creatives about how working in a sketchbook is an important part of their process and also their favourite books to work in

The colourful world of Autumn de Wilde

The photographer and director has injected striking palettes into fashion photos, celebrity portraits, vibrant ads and her feature-length debut, Emma. She talks to us about navigating these different arenas and building worlds through music and colour

Behind the punchy covers of SZ Magazin

The weekly German newspaper supplement has a track record of publishing abstract and playful images. We talk to Thomas Kartsolis and Birthe Steinbeck from the art direction team about risk, deadlines and the joy of analogue tricks

A family affair: How Rubbish Famzine is put together

Since its first issue in 2013, Rubbish Famzine has built a reputation for being a unique and very collectible magazine. And it’s all created by one family. Here, editor Claire Lim reflects on how the magazine first started and what the family have learned ten issues on

How I Work: Andrea Love

We dive into the world of stop-motion animator Andrea Love, who explains her love of wool, what being self-taught brings to her work and the joy of making “inanimate objects move and come to life”

Christian & Patrick on 20 years of directing

The director duo cut their teeth creating unusual animated visuals for artists like Björk as part of Lynn Fox. They reflect on how architecture influences their work, the elements that ads often overlook and the future of music videos

How I Work: Bex Day

The London-based photographer talks about her creative process and how her work allows her to tell stories that are often overlooked or misunderstood. Plus, she explains what inspired her recent project, Children of Covid

The In-House Life: Ed Morris, AB InBev

In the latest article in our series exploring how working life differs for creatives at in-house agencies, we hear from Ed Morris, ECD at draftLine Europe, the in-house agency for brewer AB InBev

Morcos Key’s community-based approach to design

The Brooklyn studio examines ideas around community and identity through its design practice. We talk to founders Wael Morcos and Jon Key about finding their way in New York, the role of identity in their work and the Arabic type renaissance

An oral history of the Old Spice ads

First launched in 2010, Wieden + Kennedy Portland’s shirtless one-shot ads for P&G brand Old Spice turned heads and spawned a cascade of spinoffs. We retrace how the ads were made with the creatives as well as The Man himself, Isaiah Mustafa