Patrick is the Editor of Creative Review
Two years after its last rebrand, Uber has unveiled a new identity created with Wolff Olins. How does the new look reflect the changing priorities of Uber as a business as it matures, diversifies and faces increased pressure from regulators?
Creative Review’s Photography Annual seeks to celebrate great images – those who take them and those who commission them. Entries are now open
To coincide with the start of the new FA Women’s Super League season, the top three tiers of the English women’s football pyramid and the league cup competition have a co-ordinated new visual identity created by Nomad
We meet Oliver Heilmer, Head of Design for MINI, to talk design process, what he looks for in designers on his team and the trends and ideas shaping the car of the future
From Heineken to Stella, John Smith’s, Guinness, Carling and Carlsberg, some of the greatest British advertising has been created for beer brands. We look back through our archive for the pick of the pints
A new Design Council report depicts a high value, growing industry in the UK with a productive, skilled workforce that is out-earning its peers in other sectors. But one that is still beset by gender inequality and struggles to impact some regions and sectors
The Edinburgh International Television Festival has become Edinburgh TV Festival with a new visual identity “drawing inspiration from the past, present and future of television”
The Rapid Response Unit, which marries art with current affairs, is looking to gather together responses to Trump’s visit to the UK, with one winning piece to be donated to the Washington Newseum
David Byrne is wearing white. White tracksuit top, white jeans, white socks, white trainers. He is sitting on a sofa in a hotel room and the sofa (can this be a coincidence?) is also white. His shirt bucks the trend by being black; rimless glasses hang from the top buttonhole. His silvery hair isn’t white […]
As a graffiti artist and painter, Robert Del Naja was the obvious choice to handle the visual direction of the band he co-founded, Massive Attack. As the band’s popularity grew, so did the scale and ambition of their sleeve artwork and live shows, both conceptually and in terms of process and presentation. This month sees […]
Art director, graphic designer, and all-round advertising legend George Lois comes with his own slogan. Well, it’s more of an anti-slogan really, yet it has followed him around his entire life. “I kid around that when I was a baby in a crib, God or Michelangelo’s hand came through the ceiling on a dark and […]
In its meticulous creation of the State of Zubrowka, Wes Anderson’s latest film, The Grand Budapest Hotel, is a typographic treat. The film’s lead graphic designer Annie Atkins was responsible for every graphic prop in the movie. We spoke to her about her work CR: How did you get into working in film? I worked […]