Magazine / Newspaper

Creative Futures 2007

This year’s Creative Futures as illustrated for our latest issue by Miles Donovan
For nearly 20 years, CR has been giving the next generation of talented creatives an important shove in the right direction, thanks to our Creative Futures scheme. But this year, for the first time, we’ve done away with any categories: with the way in which people work today, it seems increasingly meaningless to define them so narrowly. Indeed, the unifying theme between all our winners this year is that they unashamedly try their hand at a range of disciplines, whatever suits the project. All six of our nominees for 2007 were chosen by the CR editorial team and their work makes up a 25-page special in our latest issue (Jan 08, out now). What follows is a preview of each of our winners this year. We hope you enjoy their work…

We Coded S4C’s Voice-Responsive Idents

The latest batch of live action idents for Welsh channel S4C by Proud Creative all feature elements which respond to the voice of the channel’s announcer – thanks to 12 months of research and development, not to mention the code-writing skills of directors Minivegas.

The Magazine, TATE ETC.

Tate’s magazine is an integral, yet independent component of its communications strategy. Eliza Williams talks to TATE ETC. art director, Cornel Windlin

Key magazine cover

Dirk Barnett, art director of the NY Times’ Key magazine, reveals the process behind John Maeda’s current cover design for the title

Reality TV ruined my life

The Return of the Real #1, 2007. All images courtesy the artist and Victoria Miro Gallery, © Phil Collins
The UK television industry has taken rather a pummelling lately, from the discovery that phone line and competition fixing was widespread practice, even on shows as homely as Richard & Judy and Blue Peter, to the seemingly daily emergence of a catalogue of other “viewer betrayals”, including the discovery that even the Queen is not above being manipulated by the editor’s hand.
Into this climate comes artist Phil Collins’ solo show at the Victoria Miro gallery, where he presents the outcome of a project that began as part of his contribution to last year’s Turner Prize exhibition. Collins has been exploring ideas around popular factual programming on television, most typically reality television shows, for four years now, and he used the high profile that comes with being nominated for the Turner Prize to engage with the media about some of the issues that arise from appearing on these shows. As part of his Turner Prize exhibit, he set up a fully-functioning production office at Tate Britain, the rather sweetly titled Shady Lane Productions, and appealed for people who felt their lives had been negatively affected by appearing in reality TV shows to come forward and tell their stories, with the promise that their contributions to his films would remain uncensored and unedited.

We Made Sony’s Play-Doh Bunnies Bounce

Fallon’s latest blockbuster commercial for the Sony Bravia Colour Like No Other campaign airs tomorrow. Directed by Frank Budgen, Play-Doh features brightly-coloured model rabbits hopping about the streets of New York. Read on to find out how it was done.

Changing Times

The New York Times Magazine is revered by art directors and readers alike. Janet Froelich, its creative director, has been the driving force behind its continued ascendance.

Tony Wilson Remembered

Peter Saville went on BBC2’s Newsnight last Friday, along with writer Paul Morley and, bizarrely, presenter Richard Madeley, to discuss the legacy of Tony Wilson

The Designer As Editor

Wallpaper* creative director Tony Chambers has just been made the magazine’s editor-in-chief. Jeremy Leslie asks him about this unprecedented switch of roles and his future plans for the titl­e

How Ford Made Cars Float Across London

Still from the new Ford Mondeo spot, Desire, which aired for the first time last night. If you missed it, click here to watch it
In Desire, Bikini Films’ latest spot for Ford (which screened for the first time during the Champions League final last night), a host of superfluous old cars are lifted heaven-ward by bunches of colourful baloons. We find out how the ad was made as SFX supervisor Mark Mason of Asylum describes his role on the commercial…

The Humour issue

CR gets serious about being funny featuring
Wes Anderson’s Isle of Dogs, Lisa McGee,
Naresh Ramchandani, David Kolbusz, Roz Chast,
Emily Oberman, Asterix, Stephen Collins,
Dominic Wilcox and the DLR

Buy here


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