Yet, as Maximilian Niemann, a director at Unit9 production company, points out, when machines are used in collaboration with humans, it may actually make for better work. Focusing on an unlikely friendship that forms between a young boy and his new intergalactic companion, the spot is all about the little things that matter during the festive season.
Since the s, the filmmaker and artist has turned his lens towards the fringes. He talks to us about relinquishing control, Hollywood reboot culture, and how a Gucci mini-series captured the spirit of his early works. For decades, comic books have showcased vibrant graphic design that is a pivotal part of the superhero world.
The Ghana-based photographer discusses the challenges of being a female photographer in Africa and why she hopes her images inspire others to see the value in creative jobs. We look at how graphic design and illustration brought the movie to life.
Daniel Kleinman has been the creative mind behind almost every title sequence since the 90s. The photographer switched his focus from the hip-hop scene to the Black Lives Matter movement last year in the wake of the murder of George Floyd.
Interest in home improvement exploded in the wake of the pandemic. In the competitive world of illustration, adopting a signature motif or icon in your work can help you grow your brand and your career.
Here, CR speaks to three illustrators about the benefits and challenges of making one element your trademark. The posters feature bold illustrations and photography and also reveal a refreshed design identity for the trademark Coke logo. Last week a revamp, albeit a temporary one, of the British Rail double arrow logo caused a stir in the design press and on social media. CR speaks to Studio Blackburn, the team behind the update, to get an insight into the project and how they felt about the reaction.
Snack brand Pringles has revealed the first update to its mascot in 20 years. Mark Hauser, applied behavioural scientist at branding agency The Team, discusses how psychology could create more effective, human-centred creative work.
Logos, exhibition design and book covers can often seem like the zenith of graphic design. Do reports, documents and catalogues get overlooked by comparison?
Lil Nas X is ripping up the music rulebook with his rap-country-pop sound, gender-bending style and eye-catching creative output. As he releases his debut album, we look at how the artist brings his unique vision to life. The artist, photographer, designer and director talks to CR about working at speed, the joy of not being confined by one discipline, how he balances the commercial with the personal, and why his spirit animal is a cross between a chameleon and a dung beetle.
Brands with big or cult-like followings have both power and community. Creative Review speaks to three brand experts about how they cultivate followers and maintain their flock. Working in the creative industries inevitably involves rejection and doubt. But those are also the elements that can lead to greatness, writes Richard Holman.
Aimed at four-five year-olds and focused on areas of the UK that have been particularly affected by the pandemic, Squirrels is the first new Scouts programme for 35 years. In the fight to gain attention for charities and grassroots causes, design and creative thinking is more important than ever.
Here, we look at how creativity can engage people in causes and galvanise wider audiences. DE: I think a lot of that comes from seeing people who aren't trained in typography use type, seeing the kind of freedom they have.
DE: I think we've always been quite gung-ho about just believing that if you've got good ideas and a good sense of design, you can apply that to all kinds of media. That, and having the balls to say, "Yes, we can do that". Then we go away from the meeting and find a technician that can help us to achieve it. Did you ever consider working for anyone else? DE: There didn't seem to be that many UK companies that we held in terribly high regard.
There were some others in Holland and around the world, but at that time [in ] British design companies were the likes of Fitch and Michael Peters: they were very big and seemed rather bland compared to what we were doing.
AA: That's when graphic design became a proper industry. We were rebelling against that, really. We wanted our work to look like we had done it - not like it had come out of a factory. When he started the writing agency with Eric Sykes, they had a sign above the door that said, "We don't have a plan, so nothing can go wrong". We've never planned anything more than the next day. I know it sounds kind of mad not to have a plan or a vision, but we just want to do interesting things.
We're like the wild card. DE: I think that's happened to us quite a few times. We get included on a list of people pitching for a project as a slightly leftfield choice. Then, more often than not, we come up with something that not only works, but is quite different within that market place. AA: We're also seen as a safe pair of hands now. Someone like the Tate - if they have a difficult show, such as Henry Moore, how can they put it in a different light? They might not give us the more rebellious show; they'll give us the more problematic one.
DE: The first projects that really got us noticed were probably the Next Directory and a set of postage stamps celebrating the 40th anniversary of the Queen's accession to the throne.
Both projects were successful for us as they managed to combine our own contemporary slant on typography with being relevant and apt for their target audiences. AA: I think our work has changed more than most.
When we first came out, all the design magazines labelled us as 'the wild boys of typography' and this kind of stuff, because our work was a bit mad. But over the years, we've worked on much simpler concepts; we've just worked on the purity of an idea and not let anything else get in the way.
DE: I think we've just grown up a bit. We've got that rebelliousness out of our systems. It feels like we get more of a buzz out of solving a problem than doing our own thing.
There was a time in the early days when we were desperate to express ourselves, and I think that has shifted into being excited about getting it right. AA: We're graphic problem solvers. Having said that, I still have the need to do my own projects which are purely self-indulgent. I need to do that as a kind of outlet, but I also love doing incredibly simple jobs. We sold the idea of a white square to the equivalent of BBC2 in Brussels.
It was like the emperor's new clothes - "Your new logo's a white square! If you think about that compared to the first work we were doing after college, it's just so far apart.
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