The Storytelling issue, Oct/Nov 2017, is out now.
We invited writers to respond to our cover image
this month: read their stories inside.
PLUS: Tom Gauld, Oliver Jeffers, Giphy & S-Town
Stills from Digital Club’s film, Mare Street E8, which the duo created using their Creative Futures bursary
For almost 20 years, Creative Review has been encouraging the next generation of talented creatives through our annual Creative Futures scheme in which we celebrate the promise of a selection of emerging talent in visual communications.
This year’s crop of Futures were selected by the CR editorial team – our only criteria were to find individuals or teams who we feel have an extremely bright future ahead of them and who are indicative of the future direction of the industry.
Just before Christmas, each of our selected Futures gave a talk at one of three Creative Futures events. We invited everyone coming along to the talks to bring a piece of work with them – an image, some text, even a piece of music. We then asked each of our Futures to produce a new piece of work responding to the experience of being selected for the scheme, giving their talk and to the work brought along. These projects were funded by a bursary provided to each Future by CR and PlayStation. Over the next few days we will be posting up the resulting pieces of work – below is Digital Club’s animation…
Born Marc Kremers: 14.06.77, South Africa; Tommi Eberwein: 24.07.76, Offenburg, Germany. Education Marc: Natal Technikon, South Africa, self-taught. Tommi: Ecal School of Art and Design, Lausanne, Switzerland. Based London. Work history Hi-Res! (June 2003–April 2007). Contact email@example.com, firstname.lastname@example.org, thedigitalclub.net
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…
Just before Christmas, a strange image arrived in my email in-box. It was attached to a message entitled “Extreme shrinkage was evident, due to the large amount of fat rendered” – a statement, I think you’ll agree, guaranteed to arouse anyone’s curiosity.
The image consisted of an assortment of geometric shapes on a burgundy background – the overall effect being not dissimilar to a “party shirt” I had in 1983. Over the top of this assemblage was a lengthy message urging me to invest in a “hot stock” listed on the market under the somewhat unfortunate acronym ARSS. Apparently I needed to start watching ARSS (insert joke here) as it was about to embark on a spectacular rise. $$$ were promised. And all this highly valuable information was set in a crude machine typeface with the kind of leading and kerning worthy of David Carson on one of his most, err, inspired days.
According to Ironport, a spam filtering firm, unsolicited junk mail now accounts for more than nine out of every ten email messages sent over the internet. The volume of junk has doubled over the last year, chiefly due to what was sitting in my in-box: image spam, one of the most successful and effective design innovations of recent times.