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
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
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
Beavertown Brewery on building a craft beer brand
Beavertown Brewery creative director Nick Dwyer tells CR about the artful chaos that drives the craft beer brand, and how it’s built its identity on “spacemen, skeletons, skulls and weird shit exploding”
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: Model Maker Ellie Sampson
Papercut artist and model maker Ellie Sampson explains the challenges of making mini buildings and why her tiny take on architecture offers a kind of escapism that the real world doesn’t
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: Location manager Eoin Holohan
The location manager talks to CR about his work on Normal People, finding the right venues for film and TV shoots and helping directors bring their vision to life
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
Lance Wyman on using lockdown as a time to revisit and reflect
As the designer begins organising his archive, he has been sharing process shots and personal anecdotes with his Instagram followers along the way. Here, Wyman tells CR why our strange new reality is the perfect opportunity to look back at both the good and the bad
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
Here We Are: adapting Oliver Jeffers’ children’s book for TV
Jeffers’ illustrated bestseller has been reimagined for the screen in a 30-minute film created by Studio AKA. We talk to director Philip Hunt about the making of the film, and the challenges of adapting a popular picture book
Behind the scenes with a Hollywood casting director
Jennifer Venditti, casting director behind Euphoria, Uncut Gems and Honey Boy, talks to us about finding the right person to convey personal stories, and the balancing act of casting first timers opposite Hollywood stars
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