It’s not easy to summarise how much I learned, achieved and experienced whilst at Creative Review for 12 years between 2001 and 2013. I started originally as editorial assistant, working on what was then a monthly magazine, and my main duties included establishing and maintaining contacts in the design and advertising industry in order to find out about and report on new projects and campaigns.
By the time I left in April 2013, I was a senior writer and as well as writing features and news stories for the monthly magazine, I was also contributing daily to Creative Review’s well-read blog and also finding and creating content for the iPad edition of CR. I was a regular jury member of Creative Review’s annual awards scheme, The Annual and I’ve also sat on juries for the British Animation Awards, Epica international advertising awards, the D&AD student awards, and the Rushes Soho Shorts film festival.
I teamed up with animation and live-action film studio ORDER to curate a series of short films as content for Creative Review’s iPad edition. I chose the subject/s for each film and conducted the interviews.
Shed + Ilovedust at Meatliquor
This film looks at the collaboration between interior design studio Shed and design studio Ilovedust to create the interior of London’s Meatliquor restaurant.
Tony Brook on Wim Crouwel
I interviewed Tony Brook (Spin / Unit Editions) about his fascination with the posters of Dutch design legend Wim Crouwel.
Creative Review January 2012: The Music Issue Read the feature here.
Cut, fold, glue and play
Creative Review December 2011 here Read the feature here.
Hi, my name is Riso, I'm here to help you!
Creative Review October 2012 Read the feature here.
I contributed to several issues of illustration-focused magazine Wrap in 2013 and 2014. I waxed lyrical in issue 8 on the topic of Seeking Patty Perfection. For issue 9, I penned a piece about a rather splendid lunch I had with Wrap magazine’s Polly Glass at Story, chef Tom Sellers’ London restaurant. And in issue 10, I wrote a feature about how to price graphic art – and also a day-in-the-life style piece about designer and illustrator Kate Moross.
Jason Smith and Phil Garnham at London-based type foundry Fontsmith asked me to help them create an accessible case study about the corporate typeface they had been working on for global toothpaste brand Colgate. As well as breaking down a lot of information about the project (besides three weights as a Roman/Latin character set with corresponding italics, the typeface also extended to Cyrillic, Eastern European, Devangari and Thai versions), I interviewed Fontsmith’s Phil Garnham about the project to ensure I had everything I needed to create an informative, insightful case study. The text I produced was split into distinct sections that outlined the project brief; the design approach; the process of translating the look of a typeface into different non-Roman foreign language character sets; and then finished with a testimonial quote from the commissioning client.
The resulting case study could be sent to journalists or potential clients as a 10 page PDF with lots of great project visuals (three pages shown here), or condensed to be included on Fontsmith’s website. I also created a snappy press release for Fontsmith to use to send out to the design press. The format of the Colgate Ready case study (the first created for Fontsmith’s then new website) has been applied to subsequent Fontsmith case studies.
In 2013, artist Von called me up and asked if I would write “a little something” about him (and his work) for a book being put together by photographer Cat Garcia. The idea of the book, Von explained, was to shine a light on the working practices of a selection of British artists, designers, photographers, film-makers and other creative individuals that Cat had shot in their studios and work places. For each person featured, the accompanying text would be written by someone else in the industry who knew them and their work.
When the hardback book came out in early 2014 (sporting one of Cat’s shots of artist Sir Peter Blake, no less), I realised what a great honour it was to have been asked to contribute to a project that celebrates British creative talent in such an original, simple, understated and beautifully produced book.
I was commissioned to write a feature for the Autumn 2007 issue of then new magazine Plastique (which was being beautifully art directed by Matt Willey) about how vital I felt good packaging design is for music lovers and collectors like myself as the mp3 file had, rather suddenly, (thanks largely to Jonathan Ive's brilliantly intuitive iPod design) become the most convenient format for buying and storing music.
The brainchild of designer, art director and curator Darren Firth, Two Faced: The Changing Face of Portraiture(published by IdN, 2007) presented over 100 unique portraits produced exclusively for the project by the likes of Kinsey, David Shrigley, Hillman Curtis, Build, Rankin, Trevor Jackson, Jonathan Ellery, Joshua Davis, and many more.
Darren asked me to write the introduction to Two Faced but I suggested I write a foreword and that Darren approach Adrian Shaughnessy to write the introduction instead. Darren thought it was a great idea (and fortunately so did Adrian) and the project turned out brilliantly, with Darren touring much of the artwork created specially for it around the world.