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
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
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 I Work: New Yorker cartoonist Barry Blitt
Pulitzer Prize-winning cartoonist Barry Blitt talks to CR about the pressures of creating New Yorker covers and why he prefers a quiet life in Connecticut
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
How I Work: Ibrahim Mahama
The Ghanaian artist gives new life to discarded materials in his often monumental projects which evoke centuries of history. He takes us through the process behind his work, and the value of bringing in ordinary people to create extraordinary installations
How I Work: Rob Biddulph
Author and illustrator Rob Biddulph is renowned for his witty and charming picture books for children. Here he shares his creative process and how he keeps readers coming back to his books
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
How I Work: New York Magazine photo director Jody Quon
In her role of overseeing the bold covers and photography work at New York Magazine, Jody Quon is no stranger to overcoming challenges. She discusses how to be convincing, taking creative risks and minimising the fallout
How I Work: Lego’s Roberto Marchesi
As Senior Creative Manager at Lego, Roberto Marchesi has created digital experiences for everything from iPads to AR, but he insists the secret to the world-famous toy company’s success will always be the humble brick
How I Work: Virgin Galactic Creative Director Tom Westray
The man in charge of the look and feel of the world’s first commercial space flight company discusses walking the line between science fiction and real life, and why designing Virgin Galactic’s spacesuits was like making a wedding dress for 600 people
How I Work: Airbnb Global Creative Director, Naz Arandi
Airbnb is widely recognised for putting creativity and design at the heart of its brand. Here, its Global Creative Director of Homes Naz Arandi tells CR how, despite its creative credentials, the company would be nothing without its community
How I Work: Eleanor Pinfield, Art on the Underground
As Head of Art on the Underground, Eleanor Pinfield works with leading contemporary artists to change the way we experience tube stations. Here she talks to CR about her process, and the joys and challenges of the job
How I Work: Artist & Food Historian Tasha Marks
Tasha Marks has created ornate edible sculptures and scented installations for the Barbican, the V&A and the Wellcome Collection. We talk to her about using food as an artistic medium and bringing a sense of fun and spectacle to museums
How I work: Nora Krug
Fresh from winning Illustrator of the Year at the 2019 V&A Illustration Awards, Nora Krug discusses her ‘documentarian’ approach to writing books, and how she pieces illustrations together like sculptures
How I Work: Jenn Nkiru
The filmmaker has come a long way from the summer scheme in Peckham that kickstarted her career. She tells CR about her role as a creative anthropologist, and why she makes cinema, not film
How I Work: Amanda Johnstone-Batt, Framestore Rides
Rollercoasters are no longer all about the corkscrew and loop-the-loop. They’ve become rich interactive experiences that use AR, VR and CGI to immerse riders in the story. Amanda Johnstone-Batt, CGI Supervisor on Framestore’s Rides team, tells CR what it takes to make them work
How I Work: Book cover designer Na Kim
Farrar, Straus and Giroux designer Na Kim discusses making fruity covers for erotic stories, and why publishers should take more risks
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 We Work: Raw Color
As the name suggests, colour is a central focus for Dutch studio Raw Color. CR spoke with founder Christoph Brach to find out how experimenting with vegetable pigments kickstarted a career that spans design, photography and art direction
How We Work: Puppeteers Jonny & Will
Over the last two decades, the duo has crafted everything from flying t-shirts for Ikea to a talking penis for a Home Office campaign about consent. We speak to them about why they work best as a double act, and the enduring appeal of crafts like puppet-making