McCann Erickson Melbourne's Dumb Ways to Die and 4Creative's Meet the Superhumans were the big winners at this year's D&AD Awards, with Black Pencils also going to Gov.uk and Thomas Heatherwick's Olympics Cauldron
Heatherwick's magical Olympic Cauldron (above) won a Black Pencil in the Spatial Design: Installations category.
The 4Creative Meet The Superhumans spot, directed by Tom Tagholm, won Black in TV & Cinema Communications: TV Promotions & Programme Junctions. Meet the Superhumans also picked up three Yellows, in Film Advertising Crafts: Editing for Film Advertising, Film Advertising Crafts:Direction for Film Advertising and Film Advertising Crafts: Use of Music for Film Advertising.
The other two Black Pencils this year are for public service or at least public information projects: Gov.uk and McCann Erickson Melbourne's Dumb Ways to Die for Metro Trains.
Gov.uk won its award in the Writing for Design: Writing for Websites & Digital Design category, curiously missing out on any Pencils in the digital design area.
Dumb Ways to Die, the charming animation promoting safety on Melbourne’s railways, won Black in Integrated & Earned Media:Earned Media Campaigns (where those 46m+ YouTube views must have swayed any doubters) plus four Yellows in other categories: Outdoor Advertising: Poster Advertising Campaigns, Digital Advertising:Web Films, TV & Cinema Advertising: TV Commercials 120–240 seconds and Writing for Advertising: Writing for Film Advertising
Adding to this spirit of creativity in a good cause is the first White Pencil winner since the category (launched last year) was merged into the main awards. Congratulations to Droga5 for a project that offers a practical solution to a huge problem. Help I Want To Save a Life marks the fruition of a ten-year project begun by Droga5 creative Graham Douglas. Donor registration kits are included with packs of Help Remedies plasters. The kits require a small sample of blood, though as the donor is likely to be bleeding anyway - hence reaching for the plasters - this is a simple action. The samples are then sent to DKMS, the donor centre affiliated with the project, which will follow up upon receipt.
In the Yellow Pencils, McCann Worldgroup won in Writing For Design: Writing for Brands for its LOCOG Gamesmaker project for the 2012 Olympics volunteer programme
R/GA won in Crafts for Advertising: Sound Design & Use of Music for Digital Advertising for One Copy Song. Adam Tensta is Sweden’s biggest hip-hop artist. To promote his song Pass It On, R/GA created a Facebook app that allows only one person to listen at a time before passing it to the next person in line.
Mars Petcare: Donation Glasses from Colenso BBDO, Proximity New Zealand and FINCH won in Direct: Direct Response/TV & Cinema Advertising. NZ cinemagoers were given a choice – donate to help rescue abused dogs and receive a pair of yellow glasses, or pay nothing for the red pair. In the ad which followed, those who watched through yellow saw a happy ending
In Graphic Design: Annual Reports, Brighten the Corners won for its Zumtobel Annual Report. For the Austrian lighting company’s 2011/12 annual report, Brighten the Corners worked with artist Anish Kapoor to create a two-volume publication: one book contained the facts and figures for the year, the other was a printed version of a 1998 video piece by the artist, Wounds and Absent Objects
And there was a Yellow in Branding: Brand Expression in Print for Leo Burnett London's Pantone Queen, a Diamond Jubilee tie-in documents the colours that the Queen wore on 60 different occasions during her 60-year reign, including the Primrose Yellow she wore at William and Kate’s wedding and the Canal Blue she chose for Ascot in 2008
The much-garlanded #CokeHands from Ogilvy & Mather Shanghai picjed up yet another award, this time a Yellow in Crafts for Advertising: Illustration for Advertising
While there was another win for Droga5 came in Film Advertising Crafts: Production Design for Film Advertising for the Kraft Moreing campaign. To advertise the Boost chocolate bar, Droga5 came up with the Boosted Inspiration Series of mock-documentaires. In this first film we meet the artist behind ‘M0reing’, a new trend/art project involving doing everything in multiples: wearing four hats, watching three TVs, walking three dogs. Scarily plausible
PARTY took a Yellow in Graphic Design: Moving Image (Graphic Design) for its Kanji City film. The City of Kyoto is represented as a series of 16 Kanji animations, each of which symbolises a tree, river, temple, gate and so on found in the city itself
In Outdoor Advertising: Poster Advertising Campaigns there was a Yellow for the Parkinson’s: Everyday campaign by The Assembly in which everyday images, such as a cup of tea or a pair of shoes, are mixed up to represent how Parkinson’s can affect messages the brain gives to the body
In Branding: Branding Schemes/Medium Business, 6D-K won Yellow for its charming icon-based identity scheme for Japanese agricultural co-operative, Minds
And Singapore-based WORK won in Branding: Brand Expression in Print for its Louis Vuitton: Yayoi Kusama Fine Book 2012, a limited edition book for Dover Street Market Ginza formed part of a wider collaboration between Louis Vuitton and Japanese artist Yayoi Kusama. The book features images and works drawn from the last 50 years of Kusama’s career.
There was also a Yellow for Sagmeister & Walsh's Now is Better film in Craft for Design: Typography for Design (of which more later, as the work's inclusion was the subject of some debate)
The Guardian's modern-day retelling of the Three Little Pigs, which re-imagined the tale as a contemporary news story illustrating the multiple platforms for news-gathering and reporting utilised by the paper, won in TV & Cinema Advertising:TV Commercials 61–120 seconds. Director: Ringan Ledwidge .
In Film Advertising Crafts: Cinematography for Film Advertising, F/Nazca Saatchi & Saatchi in Brazil won for Leica Store São Paulo: Soul, teling the story of the Leica M camera and its role in 20th century history. The film also won Yellow in Film Advertising Crafts: Direction for Film Advertising
There were three Yellows for R/GA and its work on Nike+ FuelBand, in Integrated & Earned Media, Integrated Digital Advertising: Digital Solutions and Mobile Marketing: Mobile Interaction & Experience
Wieden+Kennedy New York's Southern Comfort: Beach won in TV & Cinema Advertising: TV Commercials 41–60 seconds
While another Brazilian agency, Leo Burnett Tailor Made, won in Integrated & Earned Media: Earned Media Campaigns for My Blood is Red and Black. To combat a shortage of blood donations in Bahia, Brazil, local football club Esporte Clube Vitoria changed its red and black striped kit to white, pledging to change it back stripe by stripe until donations reached the target amount.
Film Advertising Crafts: Special Effects for Film Advertising saw a Yellow for 4Creative for the 4Seven idents it created with ManvsMachine
In Snickers’ You’re Not You When You’re Hungry Twitter campaign, five celebrities were asked to tweet out of character. Katie Price tweeted about economics and Rio Ferdinand confused his followers by talking about his new hobby of knitting before eventually revealing the gag. It won Yellow in Integrated & Earned Media: Earned Media Campaigns forAMV BBDO/AMV Pulse
Radio produced two Yellows this year. In Radio Advertising: Radio Advertising over 30 seconds, Y&R New York won for Campbell’s Soup: Poetry in which the opposing characters in a passive-aggressive mother-daughter row describe the action as it happens, with much door slamming and storming off. Listen here
And in the same category, DraftFCB New Zealand won for Prime Television: Call Girl. For a new season of TV show Secret Diary of a Call Girl, DraftFCB hired an actress to engage in ‘call girl-like’ behaviour across the road from a radio station. The watching DJs soon started commenting on what they saw
In Packaging Design: Packaging Design there was a win for Family Business for Absolut Unique. Some four million unique bottles of Absolut vodka were created by converting machines on the bottling line to spray paint randomly onto them. Each one was numbered
Film Advertising Crafts: Direction for Film Advertising saw a win for We Are Pi and director Körner Union for Human Arabesque. Introducing the TEDX Summit event, this film combined dancers and kaleidoscopic effects to create beautiful patterns from the letter x.
ONLY Jeans: The Liberation won for Uncle Grey Copenhagen in Crafts for Design: Sound Design & Use of Music for Websites & Digital Design. A combined movie, catalogue and game, produced by North Kingdom, click at any time and the film would freeze and load a still via which users could like, share or buy clothes
Volkswagen: The Bark Side, by Deutsch LA and directed by Keith Schofield won in Film Advertising Crafts: Use of Music for Film Advertising
And these Long-Tongued Animal Shoehorns for Closed by gürtlerbachmann won in Packaging Design: Packaging Design
And Johnny Hardstaff's eerie David viral for Prometheus picked up Yellows in Film Advertising Crafts: Production Design for Film Advertising and Film Advertising Crafts: Direction for Film Advertising
In Digital Design: Websites there was a Yellow for The Martin Agency and its JFK Presidential Library & Museum: Clouds Over Cuba project. In this interactive documentary experience about the Cuban Missile Crisis, extra background material in various forms was made available at key points of the narrative.
Let’s Make Some Great Fingerprint Art by Mrion Deuchars and art directed by Angus Hyland won in Crafts for Design: Illustration for Design
R/GA picked up another Yellow Pencil, this time in Branding: Digital Brand Expression for OneNike which nified more than 70 Nike brands, plus commerce and social media functions
And Apple (it wouldn't be D&AD without an award for Apple, would it?) won in Product Design: Consumer Product Design for the 27-inch iMac
In Film Advertising Crafts: Animation for Film Advertising, Good Books: Metamorphosis, animated by Buck for ad agency String Theory won Yellow. A Hunter S Thompson-style character goes in search of a copy of Kafka’s Metamorphosis in this film promoting Good Books, the online bookseller in aid of Oxfam
In Digital Advertising: Web Films, AlmapBBDO's From Love to Bingo for Getty Images, a love story told in 873 stock images, won Yellow
And in Digital Design: Digital Design, Local Projects won for Cleveland Museum of Art: Gallery One. Interactive installations, including a 40-foot multi-touch Collection Wall, allow visitors to explore the permament collection at the Cleveland Museum of Art
In Art Direction: Art Direction for Poster Advertising The Monkeys/MAUD won for their Diageo: Mixionary campaign where series of cocktails are broken down graphically into their constituent parts
And the final Olympic-related project to win was Barber Osgerby's torch, which won in Product Design: Industrial Product Design
A supplement listing all the winning work, plus details of the President's Award, will be published with the July issue of CR, out June 19
A few minutes ago the Alan Fletcher archive, Work and Play, went live online. It looks to be both a fantastic resource and tribute to the late British designer's work...
The site covers Fletcher's design work from his student years in the 1950s right up to work completed shorty before his death in 2006.
There are sections dedicated to his work at studios Fletcher Forbes; Fletcher Forbes Gill; Crosby Fletcher Forbes; and, of course, Pentagram, formed in 1971 when the expanding studio realised it could not simply keep adding surnames to the company name.
The site also includes various pieces of writing on Fletcher and his work by, among others, Emily King, Mike Dempsey, Craig Oldham, David Bernstein, and Steven Heller.
"We want this to be the very best collection of Alan's creative legacy," runs the brief introduction to the archive, which is maintained by Fletcher Studio, the company set up in 2010 by the designer’s daughter, Raffaella.
On a brief first look around, it certainly looks like it will be. See for yourself at alanfletcherarchive.com.
Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
Paul Belford Ltd and Droga5 are behind the launch of a new series of novels for Qantas. Each title is paired with a particular international route, where the length of time it will take to read the book is the same as the journey time...
Working with publishers Hachette, the books in the Stories for Every Journey series span a range of subjects and are paired up with several Qantas routes ranging from 1.5 hours to 23.5 hours in length. They will be given to Qantas frequent flyers before they board their flight.
A back cover showing the journey, available reading time and book title
Droga5 came up with the idea and sourced the books in collaboration with Hachette; the agency then approached Paul Belford Ltd. to design the new editions.
"For each cover we tried to create an idea that was relevant to the book's content," says Belfor. "But we also wanted to have a look and feel for the series. We used Qantas' colours but that was all."
In favour of using the Qantas typeface, Belford says the studio created all the type using an old Olivetti Lettera 32 typewriter.
"It was good to have the freedom to put the title and author down the side of the cover," says Belford. "Book jackets are packaging. In creating a simple design with ideas we are appealing to the intelligence of this audience."
The studio created all the images in-house, even sourcing an authentic captain's hat from 1795 from the National Maritime Museum in Greenwich for use on the cover of the Bligh: Master Mariner book.
"The book Kokoda is about a World War Two jungle battle between the Australians and the Japanese, so we made an image of a Japanese sniper out of bamboo leaves," Belford explains. "And the Blossoms and Shadows cover features the Japanese Kanji character for 'courage', made from real cherry blossom twigs – luckily we were working on this project in spring."
While most in-flight entertainment provided by airlines is digitised these days, it's pleasing to see an idea that celebrates the papery stuff as a great way to while away the hours (or hours and hours in some cases).
"There's no getting away from the appeal of a real book," says Belford. "The tactile quality, the way the pages curl, the smell even. You simply don't get that on smartphones, tablets and e-readers."
Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue, along with an interview with Aubrey Powell, co-founder of Hipgnosis with the late, great Storm Thorgerson. Elsewhere in the issue we take a first look at The Purple Book: Symbolism and Sensuality in Contemporary Illustration, hear from the curators of a fascinating new V&A show conceived as a 'walk-in book' plus we have all the regular debate and analysis on the world of visual communications.
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month.
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app updates with new content throughout each month. Get it here.
Pink Floyd fans may recognise the cover of our June issue. It's the original marked-up artwork for Dark Side of the Moon: one of a number of treasures from the archive of design studio Hipgnosis featured in the issue
The lead feature in our June issue is an interview with Aubrey Powell who looks back on his relationship with the late great Storm Thorgerson and the work the two of them created for bands such as Led Zeppelin, Black Sabbath and, of course, Pink Floyd at their Hipgnosis design studio.
For the piece, Powell allowed CR access to the Hipgnosis archive so that we are able to show, for the first time ever in some cases, treasures such as the original contact sheet for Pink Floyd's Ummagumma album, revealing how the final repeating image was made, a rejected sketch for the Animals sleeve and contact sheets for Led Zeppelin's Houses of the Holy sleeve.
We have a special effects theme for the issue. While Storm and Aubrey created most of their work 'for real' we contrast their approach with the latest R&D from leading CGI houses
Plus we take a look at an intriguing collaboration between artists Rob and Nick Carter and visual effects house MPC which brings old master paintings to life as digital artworks.
In contrast, we interview the authors of a new book on hand-drawn illustration – The Purple Book explores symbolism and sensuality in contemporary work with five original pieces created in response to key literary texts.
Also dealing with illustration and storytelling will be an ambitious new show at the V&A. Novelist Hari Kunzru was commissioned to write a new piece for the Memory Palace show which illustrators and designers are helping to turn into a 'walk-in book'. We talk to those behind the exhibition.
In Crit this month we have an excellent piece by designer Michael Rock which re-examines his On Unprofessionalism essay for the digital age, arguing that the idea of the 'professional' graphic designer was just a pipe dream.
We also have a tribute to Ray Harryhausen by our own Paul Pensom and, in his regular column This Designer's Life, Daniel Benneworth-Gray considers the use and usefulness of Twitter
Gordon Comstock wonders why Charles Saatchi wrote his new book Babble and Paul Belford uses a Waterstone's ad from 1998 to illustrate the dangers of over-restrictive brand guidelines
Plus, Jeremy Leslie looks at the indie football titles giving the game some more nuanced coverage and Michael Evamy asseses Venturethree's identity for The Palestinian Museum amid brands' new-found desire to be talkative
Our subscriber-only Monograph booklet this month is rather special. During theis year's Pick Me Up festival, we organised a felt toy-making workshop with Felt Mistress. This month's Monograph is a record of the day featuring some of the work made
You can buy the June issue of Creative Review direct from us here. Better yet, subscribe to make sure that you never miss out on a copy - you'll save money too. Details here.
Virgin Records is launching an exhibition, an art book and a compilation CD as part of a campaign to celebrate its 40th birthday. CR spoke to designer Adrian Shaughnessy, who is working the project, to find out more.
In 1973, 22-year-old Richard Branson launched a new record label, Virgin, with Mike Oldfield's 48-minute experimental composition, Tubular Bells. It sold 15 million copies and earned Branson a $1 million US royalty deal at 23.
After its early success, Virgin struggled to find new acts - assets were sold and staff laid off - but in 1977, it signed controversial punk band the Sex Pistols and in the 36 years since, it’s launched the careers of sellout acts including Daft Punk, Massive Attack, The Chemical Brothers, Culture Club and the Spice Girls.
To mark its 40th birthday, Virgin is launching a new campaign, 40 years of disruptions, which it says will celebrate its history as “an underdog label … with a reputation for doing the unexpected.”
As well as hosting gigs at Camden nightclub KOKO in October, Virgin is launching a four-CD compilation album, an art book edited by NME and The Face contributor Adrian Thrills, a documentary directed by Paul Tilzey and produced by Leopard Films, and an exhibition that will include seen and unseen photographs, props and memorabilia.
The book and exhibition will be overseen by Adrian Shaughnessy and his colleagues at London studio This Is Real Art, who also devised the 40 years of disruptions concept.
“Virgin approached me and along with Georgina Lee (TiRA’s co-founder) and Haider Muhdi (an in-house designer), we were briefed to work on campaign ideas, the book and the exhibition. Georgina found a Branson quote which stated that disruption has always been one of his key business tactics, so we presented the idea to Virgin boss Ted Cockle and he got it straight away- he didn't hesitate for second,” explains Shaughnessy.
“Who else would sign the Sex Pistols at a time when other labels were dropping them like sick bags? Or sign Boy George on Top of the Pops in a dress? No other label has had so many tabloid front covers … disruption is [Virgin’s] hallmark,” he adds.
The book, exhibition and compilation album will all be designed to reflect this: album artwork released on TiRA's website shows Virgin’s famous red logo defaced in various ways (above and below), and Shaughnessy is adamant that the book “won’t look like the usual record company self-promotion book”.
"We are planning one that won’t look out of place in the Tate Modern, but which is true to the Virgin label ethos. I like how Jonathan Barnbrook has done the new Bowie book (below), as it’s something you want to own and keep. There will be a huge emphasis on Virgin as a major force in popular culture rather than just a label that released a lot of good records,” he says.
Details of the exhibition and the book’s contents will remain secret until later this year, but Shaughnessy says both will include unseen footage, “rather than just album covers and press shots.”
“We’ll be using a lot of alternative shots, memorabilia, and stuff that got left on the cutting room floor,” he says. The exhibition venue is yet to be confirmed, but Shaughnessy has been briefed to find “a ‘disruptive location’ - in other words, not the usual white cube.”
“There will certainly be some surprises - but the rest is under wraps until the opening,” he adds.
For more information and for details of this autumn’s events, visit: virgin40.com
Out now, the May 2013 issue of Creative Review is our biggest ever. Features over 100 pages of the year's best work in the Creative Review Annual 2013 (in association with iStockphoto), plus profiles on Morag Myerscough, Part of a Bigger Plan and Human After All as well as analysis, comment, reviews and opinion
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month. If you subscribe before May 3, you will get the Annual issue thrown in for free. The offer also applies to anyone renewing their subscription. Details here
CR for the iPad
Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month
If you've seen our May Annual, you will have noticed a humorous call for entries ad for the Art Directors Club. The same DDB team behind that ad has produced the 91st ADC Annual, which continues to send up the creative industry
The awards annual is the work of DDB New York. Book designers Juan Carlos Pagan and Brian Gartside introduce each section with an illustration by Rami Niemi on a different aspect of creative life. Niemi's work also appears on the cover in a cheeky reference to 'big agency dinosaurs'.
Here's Niemi's take on the long haul to success.
Spread from the 'motion' cageory
Illustration
Digital
Photography
And more from the book
And the back cover
Credits: Agency: DDB New York Creative direction: Matt Eastwood and Menno Kluin Art direction: Carlos Wigle Copywriter: Aron Fried Book design: Juan Carlos Pagan & Brian Gartside Illustrations: Rami Niemi
Out now, the May 2013 issue of Creative Review is our biggest ever. Features over 100 pages of the year's best work in the Creative Review Annual 2013 (in association with iStockphoto), plus profiles on Morag Myerscough, Part of a Biggler Plan and Human After All as well as analysis, comment, reviews and opinion
You can buy Creative Review direct from us here. Better yet, subscribe, save money and have CR delivered direct to your door every month. If you subscribe before May 3, you will get the Annual issue thrown in for free. The offer also applies to anyone renewing their subscription. Details here
CR for the iPad Read in-depth features and analysis plus exclusive iPad-only content in the Creative Review iPad App. Longer, more in-depth features than we run on the blog, portfolios of great, full-screen images and hi-res video. If the blog is about news, comment and debate, the iPad is about inspiration, viewing and reading. As well as providing exclusive, iPad-only content, the app will also update with new content throughout each month.
Our May issue is the biggest CR ever, weighing in at over 230 pages. It's our Annual special, with over 100 pages of the best work of the year in visual communications combined with a regular issue containing our usual mix of interviews, opinion and reviews
The CR Annual, in association with iStockphoto, is our round-up of the best work of the year, as chosen by our panel of judges. The judges also choose what they deem to be the best of the best in our Best in Book section.
We have also chosen our design studio, client and ad agency of the year - details in the issue.
Once you've finished perusing the Annual, turn over for a regular issue of the magazine where you will find a host of features relating to the work selected for the Annual this year. This includes a major profile piece on Morag Myerscough, whose Cathedral Café project features in The Annual and who also designed our cover this month
Here's a film of Morag and her team making the cover:
We also interview Christian Borstlap from Part of a Biggler Plan in Amsterdam, whose work for Louis Vuitton has featured in several of our Annuals
One thing our graphics jury noticed about the work entered this year was how nostalgic much of it was. In particular, there was a trend for what we termed 'Austerity Graphics' – post-war British replete with sugary pastel colours. We explore the rise of this trend and look back at graphic design's abiding addiction to referencing the past
Another trend discussed by our judges was the increasing importance of the 'PR stunt' in advertising: we explore what effect this is having on ad agency creative departments and the skills of those who work there
And, in our final profile piece, we met Human After All, the creative agency formed by the design team behind Little White Lies magazine
In our Crit section, Wayne Ford reviews Jo Metson Scott's new book of photographs of soldiers who have opposed the Iraq war
James Pallister looks at how microsites have become a new platform for protest, Gordon Comstock discusses the tensionbetween branding's desire for consistency and advertising's search for originality, MIchale Evamy discusses brands which play with concealing their identity, Daniel Benneworth-Grey ruminates on the difficulties of working for that most demanding client (yourself) an Paul Belford applauds the risk-taking in a classic ad for Alexon produced by the combined talents of Richard Avedon, Paul Arden and Tim Mellors
And, if that wasn't enough, our subscribers can also enjoy a fabulous collection of Cuban posters produced by the Organisation in Solidarity with the People of Africa, Asia, and Latin America, in this month's Monograph
You can buy the May Annual issue direct from us here. Better yet, subscribe and you will not only save money but will be guaranteed to receive CR (and Monograph) every month. If you subscribe before May 3, you will get the Annual issue thrown in for free. The offer also applies to anyone renewing their subscription. Details here
Thanks to everyone who entered The Annual this year, our judges, and to all our sponsors: iStockphoto, Microsoft, Shadowplay, Cake Factory, Streamtime, Agency Rush and Fasthosts Internet
Students can now save 30% off a subscription to Creative Review
Yes, we know, finally, right? Students can now get a discount of up to 30% on a print subscription to CR. All you have to do is go to our Shopify page here
UK-based students now pay just £49.70 (instead of £71) for 12 issues of Creative Review delivered straight to your door (there are also discounts for European and rest of the world-based students). No longer will you miss out on special issues such as our celebration of 150 years of the tube or our CR Annual
And of you subscribe for longer, the savings get bigger: £83.30 for two years (instead of £119) and £117.60 for three years (instead of £168).
And all subscribers receive our award-winning Monograph booklet each month for free, featuring projects such as James Jarvis's Amos graphics (below)
