Creative Process

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

Inside the new Face

As a new website for the much-anticipated return of The Face launches, CR talks to the magazine’s Editor Stuart Brumfitt and Art Director Alex O’Brien about what we can expect from the new version of the iconic title

Stephen Gill on the value of self-publishing

On the publication of The Pillar, a new photographic series four years in the making, photographer Stephen Gill reflects on the importance and opportunities inherent in self-publishing his works through his imprint Nobody Books

How to design a banknote

De La Rue has designed banknotes for 140 countries, from South Africa to Mauritius and the Seychelles. We spoke to its Creative Director Julian Payne to find out more about the process

Director Peter Hedges on new film Ben Is Back

The screenwriter behind About a Boy and What’s Eating Gilbert Grape returns to the cinema as the writer/director of Ben Is Back, starring his son Lucas Hedges as a recovering opioid-addict. He shares his process with Creative Review

Filmmaker Carol Morley on using lookbooks

Ahead of the release of her critically-acclaimed third feature film Out of Blue, the British filmmaker Carol Morley gives Creative Review an exclusive insight into the way she employs a visual book as a central aspect of feature film directing

How I Work: Gallery Director Brett Rogers

The director of London’s Photographers’ Gallery reflects on the challenges the gallery faces in the post-Brexit era, her determination for its shows to be accessible, and on the skills she has – and lacks – when running such a significant cultural institution

All 4 gets a new look

4Creative and DixonBaxi have created a new identity for the on-demand service, based on Lambie-Nairn’s iconic ‘4’ logo and a horizontal ‘streaming bar’. We talk to them about the thinking behind the redesign

Reimagining Les Miserables without music

BBC has ditched the singing in its new adaptation of Victor Hugo’s famous novel. We speak to the show’s director Tom Shankland about the benefits of not having seen any previous versions, and making a Les Mis for the austerity era

Designing for The Favourite

The Favourite is hotly-tipped for major awards success. Design fans have an additional reason to love the film – its distinctive typographic ‘chapter openers’. We spoke to their designer Vasilis Marmatakis

How I Work: Konstantinos Dimopoulos

When games studios want to create convincing worlds, they turn to Konstantinos Dimopoulos, who’s designed everything from a sunken city filled with Lovecraftian horror to a cyberpunk capital. Here’s how he brings real-life rules to fantasy environments

How I work: Colourist Jean-Clément Soret

Colourist Jean-Clemént Soret has worked his magic on everything from Black Mirror and 28 Days Later, to the John Lewis Christmas ads. Here he explains why working with colour is like “tuning an instrument”

How I use colour: Alexander Coggin

We speak to photographer Alexander Coggin about his distinct way of using colour, of his search for delightful combinations of shades and the role that coincidence plays in his work

How I use colour: John Walter

John Walter’s art contains a mash up of ideas from science, pop culture and philosophy, all presented using bountiful, exuberant colours. We talk to him about the use of colour in his work: how it influences his process and surprises his audiences

How I use colour: Camille Walala

This week, we’re talking to artists and creatives about how they use colour in their work. Here, Camille Walala explains how her childhood home influenced her distinctive aesthetic and how she selects colours for large-scale commissions